conference program & book of abstracts

www.mediaarthistory.org/resound

CONFERENCE PROGRAM& BOOK OF ABSTRACTS

The 8th International Conference on Media Art, Science, and Technology

Aalborg University, Aalborg, Denmark August 20-23, 2019

CONFERENCETRACKS

Track1 RESOUNDINGMEDIAART:ARCHAEOLOGIES,INDETERMINATETEXTUALITIES,ANDPOSSIBLEFUTURES

Chair:TanyaToftAg Track2 SOUNDINGDIFFERENCE:GENDER,SOUND,ANDTECHNOLOGY Chairs:GabrielaAcevesSepúlveda&FreyaZinovieff Track3 SOUNDANDVOICE:ARTPRACTICESANDPOLITICS Chair:LuzMaríaSánchezCardona

Co-Chairs:LuisSoteloCastro,IrisGarrelfs,JordanLacey,PollyStanton,JenniferStoever&DoloresInésCasillas

Track4 ARTANDTECHNOLOGY:METHODOLOGIES,PRACTICES,HISTORIES Chairs:MagdalenaZdrodowska&DanielCermak Track5 SOUNDARTCURATING:CRITICALHISTORIES,STRATEGIESAND

PRACTICES Chairs:LioraBelford&JasonvanEyk Track6 SOUNDWITHINBODIES,MOISTMEDIAPRACTICES,ENVIRONMENT

ANDLIFE-WORLD:ORGANISMS,GEOLOGYANDECOLOGICALNICHES Chairs:LauraBeloff,DoloresSteinman,MichelleLewis-King&AnnaNacher Track7 THERETURNOFTHESONICREAL Chair:RahmaKhazam Track8 ARCHIVE,ARCHIVES,ARCHIVING Chairs:MortenSøndergaard&RodrigoGuzman Track9 GENERALTOPICS Chairs:MortenSøndergaard&LauraBeloff

RE:SOUND2019MortenSøndergaard,GeneralConferenceChair

LauraBeloff,ConferenceCo-chair

BookofAbstractseditedbyRodrigoGuzman,AssistantConferenceChair

Day1-TuesdayAugust20,2019updated:Aug.19,2019

08:00 Registration09:00 ConferenceIntroduction.MortenSØNDERGAARD(DK)(GeneralChair)&OliverGRAU(AT)(HeadoftheMAHconferenceseriesboard)//Auditorium-CREATE09:30 KEYNOTEJamieALLEN(CA):BeyondtheMediaReveal:FullofSoundandFury,Signifying…What?//Auditorium-CREATE10:30 Break11:00 Track5SoundArtCurating Track2SoundingDifference Track4Art&Technology Track8Archives Track9GeneralTopics Track3Sound&Voice

Auditorium RoomB RoomC RoomD RoomE RoomF Session5.2.CuratorialStrategies&

PracticesI.Chair:LioraBELFORD(CA)Session2.1.FeministInterventionsintheHistoriesandArchivesofSoundArt.Chair:GabrielaACEVESS.(CA)

Session4.1.PerformativePractices.Chair:DanielCERMAK(DK)

Session8.1.ArchivesandMachines.Chair:HaraldKRAEMER(HK)

Session9.1.MediaArts:Histories,Actions,PracticesI.Chair:LauraBELOFF(DK)

Session3.1.PerformativeArts,Voice,andConstructionofMe-moryI.Chair:IrisGARRELFS(UK)

THEINSTITUTIONALSITUATIONOFSO-CALLEDSOUNDARTRasmusHOLMBOE(DK)

REHEARSINGSENSORYREPERTOIRES:SOUNDARTCURATINGATALTERNATIVEARTSPACES1980S-2000SLinneaSEMMERLING(NL)

“FABRICACIÓNESUNIVERSO”VANGUARD,SILENCEANDOBLIVIONAdrianaS.MELGAREJO(UY)

SONICEXPERIMENTATIONANDAVANT-GARDISMINTHEINTERDISCIPLINARYANDELECTRONICWORKSOFALICIAURRETA(MEXICO,1930-1986)IracemaDEANDRADE(MX)

SOUNGUIKIM’SARTISTICPRACTICEANDVISION—SOUNDANDSILENCESINCE1970SUPTONOWSoojungYI(KR)

FEAROFFLIGHT:EXPANDEDPRESENCEANDINTER-SENSORYGESTUREINMULTIMEDIAPERFORMANCEFreidaABTAN(UK)

SOCIO-SONICINTERVENTIONSTullisRENNIE(UK)

WAYBACKSOUNDMACHINE.SOUNDTHROUGHTIME,SPACE,ANDPLACEMaileCOLBERT(PT)

DEMAGNETISEDDISKETTES,DISAPPEARINGARCHIVES:THECHALLENGESOFVIDEOGAMEPRESERVATIONFilipJANKOWSKI(PL)

APPROACHES,STRATEGIESANDTHEORETICALANDPRACTICE-BASEDRESEARCHMETHODSTOINVESTIGATEANDARCHIVEEARLYVIDEOART.SOMEREFLECTIONSFROMTHE

REWINDRESEARCHPROJECTSLauraLEUZZI(UK),StephenPARTRIDGE(UK)&AdamLOCKHART(UK)

FROMREADINGTOSENSING:THEARTOFTECHNOLOGICALGRAMMATIZATIONKyungsoMIN(US)

BETWEENTHESENSES:WHATOUR

BRAINSREVEALABOUTOURCONNECTIONBETWEENSOUNDANDCOLOURUmutELDEM(BE)

SOUNDARTANDORALHISTORY

NARRATIVESINAPOST-CONFLICTPERFORMANCEOFMEMORY:ENGAGINGPUBLICSASLISTENERSOFPAINFULPERSONALPASTSLuisSOTELOCASTRO(CA)

MICTLAN:ACYBER-CARTOGRAPHYTHESEARCHFORTHELOVEDONES.ACOLLABORATIVESOCIALLY-ENGAGEDARTPROJECTLuzMaríaSÁNCHEZ(MX)

“ELLOSNOESTÁNENTENDIENDONA-DA”[“THEYARENOTUNDERSTANDINGANYTHING”]:LISTENINGTOEMBODIED

MEMORIESOFCOLOMBIANMIGRANTWOMEN,REFLECTINGONCONFLICTANDMIGRATION.XimenaALARCÓN-DÍAZ(NO)&AlexanderR.JENSENIUS(NO)

12:00 LunchBreak 13:00 Track1ResoundingMediaArt Track1ResoundingMediaArt Track4Art&Technology Track6SoundwithinBodies Track9GeneralTopics Track3Sound&Voice

Auditorium RoomB RoomC RoomD RoomE RoomFSession1.1.DigitalDynamicsinNordicContemporaryArt:Art'sNewEnvironments.Chair:TanyaTOFT(HK)

Session1.2.SoundandtheDevelopmentofVisualMediaArt.Chair:JanTHOBEN(DE)

Session4.2.Sound-visuals.Chair:DanielCERMAK(DK)

Session6.1.Sound,BodiesandtheLife-worldI.Chair:LauraBELOFF(DK)

Session9.2.MediaArts:Histories,Actions,PracticesII.Chair:JensHAUSER(DK)

Session3.2.PerformativeArts,Voice,andConstructionofMe-moryII.Chair:LuisSOTELOCASTRO(CA)

REPRESENTATION,COMPLEXITYAND

CONTROLJøranRUDI(NO)

ANAESTHETICSAFTERCONCEPTUALISMUllaAngkjærJØRGENSEN(NO)

POST-IMMERSION:TOWARDSADISCURSIVE

SITUATIONINSOUNDANDMEDIAARTBudhadityaCHATTOPADHYAY(LB)

DRAWINGANDSCANNINGWAVEFORMS:OPTICALSYNTHESISOFTONECOLORINTHE1950SAND60SStefanieBRÄUER(CH)

SIGNALARCHAEOLOGY:POSTWAR

ELECTROACOUSTICSANDELECTRONICIMAGINGAndrewJaredASHBURN(US)

PROGRAMMED:HISTORIESOFTHEPOST-DIGITALNOWChristianePAUL(US)

TOBELOOKEDAT/TOBELISTENEDTO.RAUSCHENBERG’SPAINTINGWITH

AVOICEAnne-GritBECKER(DE)

COCCOLITHChristopherBROWN(UK)&AndrewKNIGHT-HILL(UK)

ECHOANDSPACEDESCRIPTIONOFTHE

BEHINDBACKREALITYAnaPERAICA(HR)

BIRTHDianaCHESTER(AU)

ZHENG:NEGOTIATINGART,SOUNDANDMEDICINECULTURESMichelleLEWIS-KING(CN)

(RE)SOUNDINGBLOODFLOW

COMPLEXITYD.STEINMAN(CA),D.MACDO-NALD(CA),T.NATARAJAN(CA),R.WINDEYER(CA),P.COPPIN(CA)&Da.STEINMAN(CA)

LISTENINGTOTHEWORLD.TECHNO-SONICMEDIATIONSOFREALITYLarsBOTIN(DK)

SOUNDINGIMMATERIAL.SOUNDANDLISTENINGINTHEEXHIBITION“LESIMMATÉRIAUX”(PARIS,1985)AndreasBROECKMANN(DE)

THELISTENINGWALL:AJOURNEYINTOSCOREDLISTENINGIrisGARRELFS(UK)

FLÂNEUSE>LACAMINANTAAmandaGUTIÉRREZ(MX)

GAMALABDELNASSERTHERADIOSTARANDMUSICCULTUREAfifARABI(LB)&SaharSHARARA(LB)

14:00 Break14:30 Track3Sound&Voice Track1ResoundingMediaArt Track4Art&Technology Track6SoundwithinBodies Track7ReturnoftheSonicReal Track2SoundingDifference

Auditorium RoomB RoomC RoomD RoomE RoomF Session3.3.PerformativeArts,Voice,

andConstructionofMemoryIII.Chair:LuzMaríaSÁNCHEZ(MX)

Session1.3.WeHaveAlwaysBeenPosthuman.Chairs:J.ERIKSEN(DE)&S.SCHWESINGER(DE)

Session4.3.TheoriesandPractices.Chair:NinaCZEGLEDY(CA)

Session6.2.Sound,BodiesandtheLife-worldII.Chair:AnnaNACHER(PL)

Session7.4.Simulations,Fictions,andFutures.Chair:UlrikSCHMIDT(DK)

Session2.2.GenderingtheSoundscapesofMediaArtsI(ArchivesandExclusion).Chair:FreyaZINOVIEFF(CA)

PERFORMINGTHEMIGRANTSARCHIVE:ACASESTUDYVaninaY.HOFMAN(ES)&PauALSINA(ES)

THEINHABITANTSOFCOLOSSEUM(2018):CREATINGHISTORICALCONSCIOUSNESSBYASOUNDINGSOCIALSCULPTURESolveigOTTMANN(DE)

YOURTONGUEINMYMOUTH:LIPSYNCH,DUBBING,VENTRILOQUISM,ANDTHEOTHERINGOFVOICEINDOCUMENTARY

MEDIAPatrikSJÖBERG(SE)

ADISCUSSIONOFPOSTHUMANISMIN

RELATIONTOANURBANSOUNDARTINSTALLATIONPRACTICEJordanLACEY(AU)

(RE)MAKINGSYNTHETICVOICES:REVERSEDPOSTHUMANVENTRILOQUISMMonikaGÓRSKA-OLESIŃSKA(PL)

KIRCHER’SARCAMUSARITHMICA

BEYONDCOMBINATORICS:LANGUAGE,PLAYFULNESS,ANDAMATEURISMRodrigoGUZMAN(AT)

CONTRAADORNO’SCRITIQUEOFTECHNICSINMUSIC:AFFECT,ALIENATEDLABOR,ANDCAGE’SAESTHETICSOFINDETERMINACYAndrewLIM(US)

OPEN,HIGHANDLOW.GETTINGDEEP

INTHESOUNDSOURCECODEHernaniVILLASEÑORR.(MX)

SHIFTINGSONORITIES:TECHNOLOGYANDPERSPECTIVESONTIMBREJoséC.S.CASTANHEIRA(BR)

LOCATINGTHESOUNDOFTRAUMA

WITHINMEAnnaWALKER(UK)

SEX,LABOR,ANDAUDIOTAPE:LYNNHERSHMANLEESON’SBREATHINGMACHINESMeganHINES(US)

SONETLUMIÈRE:THEBODYASAPERFORMANCEINSTRUMENTClaudiaAROZQUETA(AU)

PARAFICTIONSANDCONTEMPORARY

MEDIAART2008-2018RebeccaSMITH(UK)

DARKSITUATIONISMATRAND:AMEDIAARCHAEOLOGYOFSCENARIOBUILDINGANDTHEAESTHETICFORMALISMSOFFUTUROLOGYBrettZEHNER(US)

SENSIBILITYANDTECHNOLOGY:MAYADERENANDJOHNCAGE’SNOTES

ABOUTTECHNOLOGYDamiKIM(FR)

ALISONKNOWLES’“SOUNDPOETRY”:THEINFLUENCEOFMYCOLOGICALAND

AESTHETICDISCUSSIONSWITHJOHNCAGEONEARLYWOMEN’SFLUXUSAESTHETICSViolaRÜHSE(AT)

PRESERVINGTHELEGACYOFPIONEERINGWOMENINARTANDTECHNOLOGYINNEWYORKCITY(1970-90S)RachelWARD(US)

15:30 Break16:00 Track6SoundwithinBodies Track1ResoundingMediaArt Track4Art&Technology Track7ReturnoftheSonicReal CatchSummerCamp2019

Auditorium RoomB RoomC RoomD RoomE Session6.3.Sound,BodiesandtheLife-worldIII.Chair:DoloresSTEINMAN(CA)

Session1.4.EchoesofRituals.Chair:NinaCZEGLEDY(CA)

Session4.4.DiscoursesandPractices:LauraBELOFF(DK)

Session7.5.ElectronicMusicasHumanMachineInterface.Chair:RasmusHOLMBOE(DK)

PosterSession

“BREATH-TAKING”:SOUND-WRITINGTO

SOUND-KNOWINGJulieannaPRESTON(NZ)

RE/SOUNDTHEUN/SEENBODYClioFLEGO(IT)

ENCOUNTERSWITHMEDICINECatherineBAKER(UK)

THESOUNDOFSHAMANSINTHEWORKS

OFNAMJUNEPAIKANDEARLYKOREANVIDEOARTISTSMiJungKANG(KR)

ACTIVATINGOBJECTSWITHSOUND:NAMJUNEPAIK’SDAEGAMNORI

PERFORMANCEIN1990HaeyunPARK(US)

THENOWOFHISTORY:TOWARDSA

TOMOGRAPHICWRITINGGailPRIEST(AU)

THEHUMANOBJECT:NEW

MATERIALISTMODELSTORESISTOBSOLESCENCEINTECHNOLOGICALSOUNDPRACTICESJoeCANTRELL(US)

ART,SCIENCEANDTECHNOLOGYPRACTICESASARTISTICRESEARCHPauALSINA(ES)

SONOIDAncaHORVATH(DK)&FalkHEINRICH(DK)

CREATINGSONICTOPOLOGIESWITH

ELECTRONICMUSICTODEVELOPA

NEWCOSMOLOGICALMODELOF

CONSCIOUSNESSWillardVANDEBOGART(US)

MACHINESHACKINGHUMANS—PER-FORMANCEPRACTICESINELECTRONICMUSICDURINGTHE21STCENTURYZimasaGYSMAN(FR)

FROMTURNTABLETONEURALNET:CRAFT,TECHNOSCIENCEANDMATE-RIALISTPRACTICESOFTHE(MUSICAL)INSTRUMENTINTHE20TH/21STCENTURIESChrisSALTER(CA)&AlexandreSAUNIER(CA)

PHDPOSTERSESSIONCatchSummerCamp2019

§ MajaFAGERBERGRANTEN

§ Jung-ahSON§ HernaniVILLASEÑOR§ IanCOSTABILE§ MeganHINES§ DavidKADISH§ PetrosIOANNIDIS§ TomoyaMATSUURA

17:00 Break17:30 KEYNOTESamsonYOUNG(HK):3CasesofEchoicMimicry(Or,3AttemptsatHearingOutsideofMyOwnF@#*&gHead)//Auditorium-CREATE19:30 ConferenceDinner//MusikkensHus21:00 Screenings&PerformanceNightI//MusikkensHus

Day2-WednesdayAugust21,2019

09:00 Registration09:30 PANEL:ConversationwithSoundArtCuratorsBarbaraLONDON(US),ArnauHORTA(ES),SaloméVOEGELIN(UK)&MortenSØNDERGAARD(DK)

chairs:LioraBELFORD(CA)andJasonVANEYK(CA)//Auditorium-CREATE10:30 Break11:00 Track2SoundingDifference Track6SoundwithinBodies Track4Art&Technology Track8Archives CatchSummerCamp2019 Track3Sound&Voice

Auditorium RoomB RoomC RoomD RoomE RoomF Session2.3.Genderingthe

SoundscapesofMediaArtsII(RaceandGenderConstructions).Chair:AlejandraBRONFMAN(US)

Session6.4.Sound,BodiesandtheLife-worldIV.Chair:DoloresSTEINMAN(CA)

Session4.5.Walking-Listening-Hearing.Chair:MagdalenaZDRODOWSKA(PL)

Session8.2.ArchiveEpistemologies.Chair:MortenSØNDERGAARD(DK)

PosterSession Session3.6.SonicIntervention,theUrbanandAffectivePoliticsI.Chair:JordanLACEY(AU)

AURALINTIMACIES:GENDERED

CONSTRUCTIONSOFFAMILIARITYONTHEMARYMARGARETMCBRIDESHOWSadieCOUTURE(CA)

THESOUNDSCAPESOFLIMAANDMEXICOCITY:RACE,GENDERANDSOUNDINTHEWORKOFMONICAMAYERANDVICTORIASANTACRUZ.GabrielaACEVESSEPÚLVEDA(CA)&FreyaZINOVIEFF(CA)

THETHIRDSOUND.ANARCHEOLOGYOFSTEREOIMMERSIVEINSTALLATIONAuraBĂLĂNESCU(RO)

BLINDPHONESAndreaMANCIANTI(FI)

ECO-REMEDIATION:MYSCHIZO-PHONIA’SCURED!(NO,IT’SNOT)AngelaMCARTHUR(UK)

SEARCHINGFORSILENCE–AUDIO-WALKINGPERFORMANCEIzabelaZAWADZKA(PL)

WALKINGANDLISTENINGTHROUGHTIME,SPACE,ANDTECHNOLOGIESJacekSMOLICKI(SE)

LIQUIDFLÂNEURStevenDEVLEMINCK(BE),BorisDEBACKERE(BE)&ToonVANWATERSCHOOT(BE)

REVISITINGTHESTEREOSCOPICARCHIVEASAPROUSTIANMEMORY

RECALLINGDEVICEAngélicaPIEDRAHITA(MX)

ARCHIVALCHRONOTOPESAnnaYERMAKOVA(US)

PHDPOSTERSESSIONCatchSummerCamp2019

§ MajaFAGERBERGRANTEN

§ Jung-ahSON§ HernaniVILLASEÑOR§ IanCOSTABILE§ MeganHINES§ DavidKADISH§ PetrosIOANNIDIS§ TomoyaMATSUURA

EXPANDEDACTSOFSEEING:MOVEMENT,GESTUREANDLISTENINGPollySTANTON(AU)

BARROQUINHA’SCALLINGPaolaBarretoLEBLANC(BR)&LucasBRASIL(BR)

12:00 LunchBreak 13:00 Track9GeneralTopics Track6SoundwithinBodies Track4Art&Technology Track8Archives Track6SoundwithinBodies Track3Sound&Voice

Auditorium RoomB RoomC RoomD RoomE RoomFSession9.6.Media-Arts:Histories,Actions,PracticesVI.Chair:DoloresSTEINMAN(CA)

Session6.6.SoundintheCross-sectionofBiologicalandTechnologicalI.Chair:MichelleLEWIS-KING(CN)

Session4.6.Hearing-Experiencing.Chair:M.GÓRSKA-OLESIŃSKA(PL)

Session8.3.ArchivePracticesI.Chair:RodrigoGUZMAN(AT)

Session6.10.SoundintheCross-sectionofBiologicalandTechnologicalV.Chair:LauraBELOFF(DK)

Session3.7.SonicIntervention,theUrbanandAffectivePoliticsII.Chair:JordanLACEY(AU)

BETWEENSOUNDANDIMAGE.THEFUNCTIONOFSOUNDINFILMSANDVIDEOWORKSOFTHEWORKSHOPOFFILMFORMRyszardW.KLUSZCZYŃSKI(PL)

THESCIENCEOFTHEVOICEOFNATUREAndresBURBANO(CO)

AMEDIAARTCANON?DuncanBASS(US)

HEARDFROMTHEOTHERROOM,FELTFROMHERE:AURALIMMERSIONANDTHEECOLOGICALLYINCOMPRESSIBLEIN

FRANKGILLETTE’S“INFORMATION

ENVIRONMENTS”NicolasHOLT(CA)

EARTOTHEGROUND–HEARING

TECHNIQUESANDTECHNOLOGIESINSONIFICATIONJustynaSTASIOWSKA(PL)

AUTONOMOUSAUDITORYAGENTSINAFORESTGARDENSOUNDSCAPEDavidKADISH(DK)

FROMSILENTFILMSTOTHEDEA-FENINGEFFECTOFTHECINEMA:DEAFVEWERSANDTHEMETAPHOROF

DEAFNESSMagdalenaZDRODOWSKA(PL)

SIRI,GIVEMEBACKMYEYE.FROMAUDIOCULTURETOVIDEOANDBACKHassanCHOUBASSI(LB),JoeELIAS(LB)&SaharSHARARA(LB)

PERFORMINGINTIME:THECRAFTOFLIGHTINSTRUMENTSAlexandreSAUNIER(CA)

ARCHIVING“PIAZZAVIRTUALE”OR:HOWILEARNEDTOSTOPWORRYINGANDLOVEFAXESTilmanBAUMGÄRTEL(DE)

EXPLORATIONOFSOUNDARTARCHIVEONTHEEXAMPLEOFMEDIA-SCAPEDijanaPROTIĆ(HR)

THEBLOWHOLEJannaHOLMSTEDT(SE)

REPEAT-REVOLUTION;FORMSOF

PARTAKERAGENCYINTHESOUND-WORKSOFCAGE,HOLMQVISTAND

BRUYSSaskiaI.M.KORSTEN(NL)

FUTUREAUDITION:LISTENINGTOPROMISESOF‘UNLIMITEDPOWERFOR

THEINDEFINITEFUTURE’JulianWEAVER(UK)

TOHEARANDTOBEHEARD.ANAPPROACHTOMICROBIALPERCEPTIONTHROUGHARTANDBIOLOGYARTIFACTSMarianaPÉREZBOBADILLA(HK)

CITYSOUNDJeremiahMOORE(US)

“MAPSONG”—ATEXTSOUNDPERFORMANCEANDTALKABOUTVOICEANDCARTOGRAPHYJosefSPRINZAK(IL)

PUBLICSPACEASACOUSTICTERRITORYJustinBENNETT(NL)

14:00 Break14:30 Track5SoundArtCurating Track6SoundwithinBodies Track4Art&Technology Track8Archives Track3Sound&Voice

Auditorium RoomB RoomC RoomD RoomF Session5.3.CuratorialStrategies&

PracticesII.Chair:JasonVANEYK(CA)Session6.9.SoundintheCross-sectionofBiologicalandTechnolo-gicalIV.Chair:RosemaryLEE(DK)

Session4.7.ProgrammingandHistory.Chair:DanielCERMAK(DK)

Session8.4.ArchivePracticesII.Chair:MortenSØNDERGAARD(DK)

Session3.8.SonicIntervention,theUrbanandAffectivePoliticsIII.Chair:PollySTANTON(AU)

THESPATIALENVIRONMENTSOFJANETCARDIFFANDGEORGEBURESMILLERAnetaTRAJKOSKI(AU)

THEFIGUREOFTHEAMATEURFORA

GENERALORGANOLOGYOFSOUNDARTPRACTICESCedricMARIDET(HK)

THESOUNDOFMINERALSTONE:CHEMICALPROPERTIESOFCIVILISATIONMOONMartinaZELENIKA(HR)

SOUNDWALKING:ENTANGLEDAGENCIESAND“AUGMENTEDAUR(E)ALITY”AnnaNACHER(PL)

SOUNDSCAPEREVISITED:ZERO-PERSONPERSPECTIVEBETWEENTHESOUNDANDTHEHUMANPrzemysławDEGÓRSKI(PL)

CURATINGSONICLABSLauraGRACIA(UK)

TEJIDOSAUTOMATAS:SYMBOLOGYOF

LATINAMERICANINDIGENOUSWEAVESFROMCELLULARAUTOMATAIvánTERCEROS(EC)

FROMSPINDLETOREEL:GENDER

ASSUMPTIONSANDALTERNATIVEMEDIAHISTORIESEbruKURBAK(AT)

SOUNDDESIGNHISTORY—AUDIOVISUALSTORYTELLINGINHYPERMEDIAAPPLICATIONSFORMUSEUMSANDDIGITALCULTURALHERITAGEHaraldKRAEMER(HK)

ARCHIVINGANDCURATINGACTIVISTDESIGNONINSTAGRAM:THE2018BRAZILIANPRESIDENTIALELECTIONVISUALNARRATIVESDidianaPRATA(BR)

TAPESFOUNDINTHEWORDSHIPAlexisBHAGAT(US)

‘BORDERLINE’:REMAKINGPLACETHROUGHSONICGEOGRAPHIESJessicaTHOMPSON(CA)

SOUNDINGPICOAskKÆREBY(DK)&MajHASAGER(DK)

TACTICALLISTENINGINTHECITY:AFEMINISTTURNFROMEYETOEARStephanieLOVELESS(US)

15:30 Break16:00 Track5SoundArtCurating Track6SoundwithinBodies Track4Art&Technology Track8Archives Track6SoundwithinBodies Track3Sound&Voice

Auditorium RoomB RoomC RoomD RoomE RoomFSession5.4.CuratorialStrategies&PracticesIII.Chair:LioraBELFORD(CA)

Session6.8.SoundintheCross-sectionofBiologicalandTechnologicalIII.Chair:AnnaNACHER(PL)

Session4.8.ArtandLocation.Chair:JensHAUSER(DK)

Session8.5.ArchivePracticesIII.Chair:RodrigoGUZMAN(AT)

Session6.11.Resounding‘Dark’Ecologies:Sound-walkingRevisitedI.Chair:MichelleLEWIS-KING(CN)

Session3.9.SpokenBoundaries:VoiceStudies+Gender/Sexuality+Race/OriginI.Chair:LuzMaríaSÁNCHEZ(MX)

INCONCEIVABLEYETCOMPUTABLE:FROM

ALGORITHMICMUSICTOALGORITHMIC

DRAWINGSANDBACKFrancescaFRANCO(UK)

CURATINGELECTRONICMUSIC.THEARTGALLERYASSOUNDRECORDINGSTUDIOKarineBOUCHARD(CA)

SOUNDARTANDSITE-SPECIFICITY:CURATORIALSTRATEGIESFORANAESTHETICOFREPETITIONJaninaHOTH(AT)

NON-HUMANPARTICIPATIONINSOUNDART:ROBOTS,CREATURES,NATURAL

FORCESVadimKEYLIN(DK)

ONTOUCHING.THEINTERSPECIESPRESENCEINSOUNDENVIRONMENTSOlgaTIMURGALIEVA(PL)

HEARINGTEST–N:O2LauraBELOFF(DK)

SOUNDWALKINGANDALGORITHMIC

LISTENINGMiguelCARVALHAIS(PT)&RosemaryLEE(DK)

IKEDA’SAUDIOVISUALINSTALLATIONOFSONICMEDIATEMPORALITIES

SUPERPOSEDINURBANMEDIA

ENVIRONMENTJooYunLEE(KR)

NOISERR:CASESTUDYOFALIVINGPROCESSUALARCHIVEMartinaRAPONI(NL)

MAKINGPASTARTWORKSRESOUND:JAPANESEARTSOUNDARCHIVETomotaroKANEKO(JP)

SHIFTINGAFFECTS:CONFRONTINGEMBODIEDKNOWLEDGETHROUGH

SOUNDANDMOVEMENTSolomiyaMOROZ(UK)

YOUAREVARIATIONSChristinaDELLAGIUSTINA(NL)

SOUNDANDCLOCKElisaSTORELLI(CH)

THECOURTROOMANDTHESONICCOLORLINE:LISTENINGTOTHEVOCALBODYINTELEVISEDCRIMINALTRIALSDoloresInésCASILLAS(US)&JenniferSTOEVER(US)

ENGINEERINGEMPATHYTHROUGHTHE

POWEROFVOICEJenniLAUWRENS(ZA)

17:00 Break17:30 KEYNOTESaloméVOEGELIN(UK):SonicMaterialism:APhilosophyofDiggingandGardening//Auditorium-CREATE18:30 MAHLifetimeAchievementAward:Anne-MarieDUGUET(FR)//Auditorium-CREATE21:00 Screenings&PerformanceNightII//MusikkensHus

[Day3-ThursdayAugust22,2019–STRUERTRACKSDAY]21:00 Screenings&PerformanceNightIII//MusikkensHus

Day4-FridayAugust23,2019

09:00 Registration09:30 KEYNOTEMarieHØJLUND(DK):AnAttuningApproachtoSoundArtandDesigninPublicSpaces//Auditorium-CREATE10:30 Break11:00 Track6SoundwithinBodies Track9GeneralTopics Track4Art&Technology Track7ReturnoftheSonicReal Track3Sound&Voice

Auditorium RoomB RoomC RoomD RoomE Session6.12.Resounding‘Dark’

Ecologies:Sound-walkingRevisitedII.Chair:DavidKADISH(DK)

Session9.4.MediaArts:Histories,Actions,PracticesIV.Chair:JensHAUSER(DK)

Session4.9.ToolsandPractices.Chair:NinaCZEGLEDY(CA)

Session7.1.LocatingtheReal.Chair:RahmaKHAZAM(FR)

Session3.10.SpokenBoundaries:VoiceStudies+Gender/Sexuality+Race/OriginII.Chair:JenniferSTOEVER(US)

LISTENINGTHROUGHTHEELEMENTS:ECOLOGICALRADIOARTKateDONOVAN(DE)

THESYDNEYPYTHAGOREANMUSIC

SOCIETYANDTHEMAGICPOTENCYOFSOUNDPiaVANGELDER(AU)

ENVIRONMENTSINTHEAIRLenaORTEGA(MX)

DEEPLISTENING:EARLYCOMPUTATIONALCOMPOSITIONANDITSINFLUENCEONALGORITHMICAESTHETICSTiffanyFUNK(US)

MUSICASACREDIBLEMETAPHOROFREALITYBYLAIBACHJoannaSZCZEPANIK(PL)

THECLOUDANDTHINAIR:TOOLSFORARTISTICPRACTICETHATDISAPPEARTomMILNES(UK)

RE-VOLUTIONSAMPLER–APARTICIPATORYARCHIVEFORAUDIENCEENGAGEMENTDanielCERMAK(DK)&StinaHASSE(DK)

THEGAZEOFTHEARTWORKANDTHESYMBIOTICINTERACTIONRaivoKELOMEES(EE)

SOUNDOFTHEISLAND—LUCFERRARIANDOTHERSOUNDTRANSMITTERSDarkoFRITZ(HR)

TACTILE-SONICENACTMENTS—ON

AFFECTINGANDBEINGAFFECTEDBYAIR(NOTESOFANINSTALLATION“UNTITLED(2014)”)HeidiTIKKA(FI)

“DREAMS,ILLUSIONSANDOTHERREALITIES”SOUNDINGTHEONEIRICIN

IMMERSIVETRANSMEDIARenéeT.COULOMBE(DE)

FREEDOMHIGHWAYEmmanuelMADAN(CA)

HEREIAMNOTAWOMAN:QUANTIFYINGTHEFAILUREOFINVITROFERTILIZATIONHeidiBARKUN(CA)

12:00 LunchBreak 13:00 Track6SoundwithinBodies Track4Art&Technology Track7ReturnoftheSonicReal Track3Sound&Voice Track7ReturnoftheSonicReal

Auditorium RoomB RoomC RoomD RoomE Session6.13.Resounding‘Dark’Ecologies:Sound-walkingRevisitedIII.Chair:AnnaNACHER(PL)

Session4.10.Sound(Re)Production.Chair:DanielCERMAK(DK)

Session7.2.PhilosophicalPerspectives.Chair:RahmaKHAZAM(FR)

Session3.11.SpokenBoundaries:VoiceStudies+Gender/Sexuality+Race/OriginIII.Chair:JenniferSTOEVER(US)

Session7.6.MatteringData.RealandVirtualListenings.Chair:RasmusHOLMBOE(DK)

INNERVOICES—REFLEXIVEAUGMENTED

LISTENINGAndreasKRATKY(US)&JuriHWANG(US)

SOUNDINGNECROPOLITICS:BEYONDHUMANHISTORYAgnieszkaJELEWSKA(PL)&MichałKRAWCZAK(PL)

THREEENVIRONMENTALITIES:THESONICENVIRONMENTBETWEENATMOSPHERE,ECOLOGYANDAMBIENCEUlrikSCHMIDT(DK)

PARASITERADIO.ENVIRONMENTALARTREPURPOSEOFTHERADIOMEDIUMJuanCarlosDUARTEREGINO(FI)

RE-VISITINGTHECOMMONSENSEOFSOUNDREPRODUCTIONKazuhiroJO(JP)&PaulDEMARINIS(US)

“COGITOINSPACE”:ART,NEUROSCIENCEANDRADIOASTRONOMYPaolaCASTAÑO(UK)

SONICSCHIZOREALISM.ASCHIZOANALYTICALPERSPECTIVEONCILIAERENS’SOUNDWORKSAND

BINAURALRECORDINGArkadiuszPÓŁTORAK(PL)

THEBUDDHAMACHINE:VIBRATIONALONTOLOGYINCHINESESOUNDPRACTICEJuntingHUANG(US)

VOICESFORPASTUREAsaMENDELSOHN(US)

MEMORYBYVOICEANDMUSICIN

GERMANNEWSREELSOFTHE

1950S/1960SSigrunLEHNERT(DE)

EVOKINGDISCRIMINATIONTHROUGHDEEPLEARNINGTECHNIQUES.VOICEINTHEINSTALLATIONOUTSIDEIN:EXILEATHOMEAnnabelCASTRO(MX)

ENCOUNTERINGDATAENTITIESTHROUGHDIRTYSONIFICATIONTomiDUFVA(FI)&TaneliTUOVINEN(FI)

SONGLINES:MEDIATED

ENVIRONMENTSBorisDEBACKERE(BE)&StevenDEVLEMINCK(BE)

LISTENINGTOINCOMMUNICATIONSIN

THEAFTERLIFEOFDATADavidCECCHETTO(CA)

14:00 Break14:30 Track6SoundwithinBodies Track2SoundingDifference Track7ReturnoftheSonicReal Track3Sound&Voice Track7ReturnoftheSonicReal

Auditorium RoomB RoomC RoomD RoomE Session6.14.Resounding‘Dark’

Ecologies:Sound-walkingRevisitedIV.Chair:AnnaNACHER(PL)

Session2.4.GenderingtheSoundscapesofMediaArtsIII(EnvironmentandDiversity).Chair:IracemaDEANDRADE(MX)

Session7.3.NonhumanSound.Chair:DoloresSTEINMAN(CA)

Session3.13.SpokenBoundaries:VoiceStudies+Gender/Sexuality+Race/OriginIV.Chair:DoloresInésCASILLAS(US)

Session7.7.BodiesandMatter:VitalExchanges.Chair:BudhadityaCHATTOPADHYAY(LB)

ACOUSTICANDPERFORMATIVEFIELDWORK

ONTHEPLAINSOFPATIENCEAnnaFRIZ(US)

ASONIFICATIONOFHUMAN-ENVIRONMENTINTERRELATIONSHIPSJessicaBROSCHEIT(DE),SusanneDRAHEIM(DE)&KaiVONLUCK(DE)

TOXICSOUNDS:VIEQUES,BOMBS,BODIESAlejandraBRONFMAN(US)

BORDERLANDSANDBINARIES:MORE-THAN-HUMANLISTENINGINATIMEOF

ECOLOGICALCRISISFreyaZINOVIEFF(CA)&GabrielaACEVESSEPÚLVEDA(CA)

HUMANBODYASASOUNDINSTRUMENTClaudiaROBLES-ANGEL(DE)

OUTOFEARSHOT,OUTOFMIND,THETRIBULATIONSOFOBJECT-ORIENTEDSOUNDRahmaKHAZAM(FR)

MICRO-ECOLOGIESOFSOUND:ELEMENTALDIALOGATWORKNinaSOSNA(RU)&NikitaVASILENKO(RU)

TRANSMISSION+INTERFERENCE:DUSTDavidSTRANG(UK)

RESONANTTAILS,BLINKINGVOICES:FEELINGTHEINTERSENSORYVOICE,ABILITYANDVIRTUOSITYYvonBONENFANT(IE)

SCHIZOPHONICSTATES:THEVENTRILOQUIALVOICEINBRITISHARTISTS’FILMANDVIDEOOFTHE1970SAND1980SClaireM.HOLDSWORTH(UK)

LISTENINGTOANDTHROUGHSILENCExtineBURROUGH(US),DavidADELMAN(US)&FrankDUFOUR(US)

BETWEENTHEDROPSDanaCOOLEY(CA)

15:30 Break16:00 Track6SoundwithinBodies Track6SoundwithinBodies Track7ReturnoftheSonicReal Track9GeneralTopics Track9GeneralTopics

Auditorium RoomB RoomC RoomD RoomE Session6.15.Resounding‘Dark’Ecologies:Sound-walkingRevisitedIV.Chair:ElizabethJOCHUM(DK)

Session6.5.Sound,BodiesandtheLive-worldV.Chair:DoloresSTEINMAN(CA)

Session7.8.ImmersionandMaterialism:(Un)listeningandSignification.Chair:UlrikSCHMIDT(DK)

Session9.7.MediaArts:Histories,Actions,PracticesVII.Chair:JensHAUSER(DK)

Session9.5.MediaArts:Histories,Actions,PracticesV.Chair:MiguelCarvalhais(PT)

ALCHEMICALSENSING—LAYERINGPERCEPTIONTHROUGHTECHNOLOGYLouiseMACKENZIE(UK)

SCULPTINGACLOUD:RESONANTSOUNDSCAPESFORTRANSGENICAEOLIANMICROBESJoelONG(CA)

HEAVYMETALANDTHEORATORIONigelHELYER(AU)&JonDRUMMOND(AU)

HEARTPRINT:ACOUSTICTACTICSTOTUNEINWITHINEACHOTHERAngélicaPIEDRAHITA(MX)&ErickVÁZQUEZ(MX)

LISTENINGTOTHE1960AGADIREARTHQUAKEANDSITUATEDUNSOUNDSINTHEFILMESSAY“SALAMGODZILLA”GillesAUBRY(CH)

SKIDROWSOPRANOS:MUTINGANDAMPLIFYINGTHESONICITYOFHOMELESSNESSTHROUGHSONICINTERVENTIONSJuriHWANG(US)

INVISIBLEARCHITECTURESjakeMOORE(CA)

SCREENS—CONNECTIONS,INTERACTIONSANDGESTURESCharuMAITHANI(AU)

FREELYIMPROVISEDANDNON-ACADEMICELECTROACOUSTICMUSIC

ASURBANFOLKHaroldSCHELLINX(FR)&EmmanuelFERRAND(FR)

THEPRIMACYOFSOUNDINROBERTBRESSON’SFILMSAmreshSINHA(US)

ONSEIKOMIKAMI:ACRITICALREADERJung-YeonMA(JP)

CONSTRAINTANDFREEDOMIN

SOUND:FROMTHEPORTSMOUTH

SINFONIATONEWALGORITHMSBrianReffinSMITH(DE)

17:00 Break17:20 AnnouncementofnextMAHConferenceHost.MortenSØNDERGAARD(DK)&OliverGRAU(AT)//Auditorium-CREATE17:30 KEYNOTEChristophCOX(US):Matter,Flow,Sound,Politics//Auditorium-CREATE18:30 ConferenceClosure//Auditorium-CREATE

updated:Aug.19,2019

CONTENTSKEYNOTES&CURATORSPANEL..............................................................................................................1BeyondtheMediaReveal:FullofSoundandFury,Signifying…What?JamieAllen...........................................................................................................................................23CasesofEchoicMimicry(Or,3AttemptsatHearingOutsideofMyOwnF@#*&gHead)SamsonYoung......................................................................................................................................3ConversationwithSoundArtCuratorsBarbaraLondon,ArnauHorta,SaloméVoegelin&MortenSøndergaard.........................................4SonicMaterialism:APhilosophyofDiggingandGardeningSaloméVoegelin..................................................................................................................................6AnAttuningApproachtoSoundArtandDesigninPublicSpacesMarieHøjlund......................................................................................................................................7Matter,Flow,Sound,PoliticsChristophCox.......................................................................................................................................8PAPERPRESENTATIONS...........................................................................................................................9

FearofFlight:ExpandedPresenceandInter-sensoryGestureinMultimediaPerformanceFreidaAbtan...................................................................................................................................10TheSoundscapesofLimaandMexicoCity:Race,GenderandSoundintheWorkofMonicaMayerandVictoriaSantaCruzGabrielaAcevesSepúlveda&FreyaZinovieff................................................................................10“Ellosnoestánentendiendonada”[“Theyarenotunderstandinganything”]:ListeningtoEmbodiedMemoriesofColombianMigrantWomen,ReflectingonConflictandMigrationXimenaAlarcón-Díaz&AlexanderRefsumJensenius....................................................................10Art,ScienceandTechnologyPracticesasArtisticResearchPauAlsina.......................................................................................................................................11GamalAbdelNassertheRadioStarandMusicCultureAfifArabi&SaharSharara..............................................................................................................11SonetLumière:TheBodyasaPerformanceInstrumentClaudiaArozqueta..........................................................................................................................12SignalArchaeology:PostwarElectroacousticsandElectronicImagingAndrewJ.Ashburn..........................................................................................................................12Listeningtothe1960AgadirEarthquakeandSituatedUnsoundsintheFilmEssay“SalamGodzilla”GillesAubry.....................................................................................................................................13EncounterswithMedicineCatherineBaker..............................................................................................................................13TheThirdSound.AnArcheologyofStereoImmersiveInstallationAuraBălănescu...............................................................................................................................13HereIAmNotaWoman:QuantifyingtheFailureofInVitroFertilizationHeidiBarkun...................................................................................................................................14AMediaArtCanon?DuncanBass....................................................................................................................................14Archiving“PiazzaVirtuale”or:HowILearnedtoStopWorryingandLoveFaxesTilmanBaumgärtel.........................................................................................................................15ToBeLookedAt/ToBeListenedTo.Rauschenberg’sPaintingwithaVoiceAnne-GritBecker............................................................................................................................15HearingTest–n:o2LauraBeloff....................................................................................................................................16PublicSpaceasAcousticTerritoryJustinBennett.................................................................................................................................16

RE:SOUND2019

TapesFoundintheWordshipAlexisBhagat..................................................................................................................................17ResonantTails,BlinkingVoices:FeelingtheIntersensoryVoice,AbilityandVirtuosityYvonBonenfant..............................................................................................................................17ListeningtotheWorld.Techno-sonicMediationsofRealityLarsBotin........................................................................................................................................17CuratingElectronicMusic.TheArtGalleryasSoundRecordingStudioKarineBouchard.............................................................................................................................18DrawingandScanningWaveforms:OpticalSynthesisofToneColorinthe1950sand60sStefanieBräuer...............................................................................................................................18SoundingImmaterial.SoundandListeningintheExhibition“LesImmatériaux”(Paris,1985)AndreasBroeckmann.....................................................................................................................18ToxicSounds:Vieques,Bombs,BodiesAlejandraBronfman.......................................................................................................................19ASonificationofHuman-environmentInterrelationshipsJessicaBroscheit,SussanneDraheim&KaivonLuck.....................................................................19CoccolithChristopherBrown&AndrewKnight-Hill.......................................................................................20TheScienceoftheVoiceofNatureAndrésBurbano..............................................................................................................................20ListeningtoandthroughSilencextineburrough,DavidAdelman&FrankDufour............................................................................21TheHumanObject:NewMaterialistModelstoResistObsolescenceinTechnologicalSoundPracticesJoeCantrell.....................................................................................................................................21SoundwalkingandAlgorithmicListeningMiguelCarvalhais&RosemaryLee................................................................................................22TheCourtroomandtheSonicColorLine:ListeningtotheVocalBodyinTelevisedCriminalTrialsDoloresInésCasillas&JenniferStoever.........................................................................................23ShiftingSonorities:TechnologyandPerspectivesonTimbreJoséCláudioCastanheira................................................................................................................23“CogitoinSpace”:Art,NeuroscienceandRadioAstronomyPaolaCastaño.................................................................................................................................24EvokingDiscriminationthroughDeepLearningTechniques.VoiceintheInstallationOutsidein:ExileatHomeAnnabelCastro...............................................................................................................................24ListeningtoIncommunicationsintheAfterlifeofDataDavidCecchetto..............................................................................................................................24Re-VolutionSampler—AParticipatoryArchiveforAudienceEngagementDanielCermak-Sassenrath&StinaHasse.......................................................................................25Post-immersion:TowardsaDiscursiveSituationinSoundandMediaArtBudhadityaChattopadhyay............................................................................................................25BIRTHDianaChester.................................................................................................................................26Siri,GiveBeBackMyEye.FromAudioCulturetoVideoandBackHassanChoubassi,JoeElias&SaharSharara.................................................................................26WaybackSoundMachine.SoundthroughTime,Space,andPlaceMaileColbert..................................................................................................................................26BetweentheDropsDanaCooley....................................................................................................................................27“Dreams,IllusionsandOtherRealities”SoundingtheOneiricinImmersiveTransmediaRenéeThérèseCoulombe...............................................................................................................27

RE:SOUND2019

AuralIntimacies:GenderedConstructionsofFamiliarityonTheMaryMargaretMcBrideShowSadieCouture.................................................................................................................................28SonicExperimentationandAvant-gardismintheInterdisciplinaryandElectronicWorksofAliciaUrreta(Mexico,1930-1986)IracemadeAndrade.......................................................................................................................28Songlines:MediatedEnvironmentsBorisDebackere&StevenDevleminck...........................................................................................29SoundscapeRevisited:Zero-personPerspectivebetweentheSoundandtheHumanPrzemysławDegórski......................................................................................................................29youarevariationsChristinaDellaGiustina..................................................................................................................30LiquidFlâneurStevenDevleminck,BorisDebackere&ToonvanWaterschoot....................................................30ListeningthroughtheElements:EcologicalRadioArtKateDonovan.................................................................................................................................30ParasiteRadio.EnvironmentalArtRepurposeoftheRadioMediumJuanCarlosDuarteRegino..............................................................................................................31EncounteringDataEntitiesthroughDirtySonificationTomiDufva&TaneliTuovinen.......................................................................................................31BetweentheSenses:WhatOurBrainsRevealaboutOurConnectionbetweenSoundandColourUmutEldem....................................................................................................................................32Re/SoundtheUn/SeenBodyClioFlego........................................................................................................................................32InconceivableYetComputable:FromAlgorithmicMusictoAlgorithmicDrawingsandBackFrancescaFranco............................................................................................................................33SoundoftheIsland—LucFerrariandOtherSoundTransmittersDarkoFritz......................................................................................................................................33AcousticandPerformativeFieldworkonthePlainsofPatienceAnnaFriz.........................................................................................................................................33DeepListening:EarlyComputationalCompositionandItsInfluenceonAlgorithmicAestheticsTiffanyFunk....................................................................................................................................34TheListeningWall:AJourneyintoScoredListeningIrisGarrelfs.....................................................................................................................................34(Re)MakingSyntheticVoices:ReversedPosthumanVentriloquismMonikaGórska-Olesińska...............................................................................................................35CuratingSonicLabsLauraGracia....................................................................................................................................35Flâneuse>LacaminantaAmandaGutiérrez..........................................................................................................................36Kircher’sArcaMusarithmicabeyondCombinatorics:Language,Playfulness,andAmateurismRodrigoGuzman.............................................................................................................................36MachinesHackingHumans—PerformancePracticesinElectronicMusicduringthe21stCenturyZimasaGysman...............................................................................................................................36HeavyMetalandtheOratorioNigelHelyer&JonDrummond.......................................................................................................37Sex,Labor,andAudioTape:LynnHershmanLeeson'sBreathingMachinesMeganHines...................................................................................................................................37PerformingtheMigrantsArchive:ACaseStudyVaninaYaelHofman&PauAlsina..................................................................................................38SchizophonicStates:TheVentriloquialVoiceinBritishArtists’FilmandVideoofthe1970sand1980sClaireM.Holdsworth......................................................................................................................38

RE:SOUND2019

TheInstitutionalSituationofSo-calledSoundArtRasmusHolmboe............................................................................................................................39TheBlowholeJannaHolmstedt.............................................................................................................................39HeardfromtheOtherRoom,FeltfromHere:AuralImmersionandtheEcologicallyIncompressibleinFrankGillette's“InformationEnvironments”NicolasHolt.....................................................................................................................................39SonoidAncaHorvath&HeinrichFalk.........................................................................................................40SoundArtandSite-specificity:CuratorialStrategiesforanAestheticofRepetitionJaninaHoth.....................................................................................................................................40TheBuddhaMachine:VibrationalOntologyinChineseSoundPracticeJuntingHuang.................................................................................................................................41SkidRowSopranos:MutingandAmplifyingtheSonicityofHomelessnessthroughSonicInterventionsJuriHwang......................................................................................................................................41DemagnetisedDiskettes,DisappearingArchives:TheChallengesofVideoGamePreservationFilipJankowski................................................................................................................................42SoundingNecropolitics:BeyondHumanHistoryAgnieszkaJelewska&MichałKrawczak.........................................................................................42Re-visitingtheCommonSenseofSoundReproductionKazuhiroJo&PaulDeMarinis.........................................................................................................43AnAestheticsafterConceptualismUllaAngkjærJørgensen..................................................................................................................43AutonomousAuditoryAgentsinaForestGardenSoundscapeDavidKadish...................................................................................................................................43SoundingPicoAskKæreby&MajHasager............................................................................................................44MakingPastArtworksResound:JapaneseArtSoundArchiveTomotaroKaneko...........................................................................................................................44TheSoundofShamansintheWorksofNamJunePaikandEarlyKoreanVideoArtistsMiJungKang...................................................................................................................................45TheGazeoftheArtworkandtheSymbioticInteractionRaivoKelomees..............................................................................................................................45Non-humanParticipationinSoundArt:Robots,Creatures,NaturalForcesVadimKeylin...................................................................................................................................46OutofEarshot,OutofMind,theTribulationsofObject-orientedSoundRahmaKhazam...............................................................................................................................46SensibilityandTechnology:MayaDerenandJohnCage’sNotesaboutTechnologyDamiKim........................................................................................................................................46BetweenSoundandImage.TheFunctionofSoundinFilmsandVideoWorksofTheWorkshopofFilmFormRyszardW.Kluszczyński..................................................................................................................47Repeat-revolution;FormsofPartakerAgencyintheSound-worksofCage,HolmqvistandBruysSaskiaIsabellaMariaKorsten.........................................................................................................47SoundDesignHistory—AudiovisualStorytellinginHypermediaApplicationsforMuseumsandDigitalCulturalHeritageHaraldKraemer..............................................................................................................................48InnerVoices–ReflexiveAugmentedListeningAndreasKratky&JuriHwang.........................................................................................................48FromSpindletoReel:GenderAssumptionsandAlternativeMediaHistoriesEbruKurbak....................................................................................................................................49

RE:SOUND2019

ADiscussionofPosthumanisminRelationtoanUrbanSoundArtInstallationPracticeJordanLacey...................................................................................................................................49EngineeringEmpathythroughthePowerofVoiceJenniLauwrens...............................................................................................................................50Barroquinha'sCallingPaolaBarretoLeblanc&LucasBrasil..............................................................................................50Ikeda’sAudiovisualInstallationofSonicMediaTemporalitiesSuperposedinUrbanMediaEnvironmentJooYunLee.....................................................................................................................................51MemorybyVoiceandMusicinGermanNewsreelsofthe1950s/1960sSigrunLehnert................................................................................................................................51Approaches,StrategiesandTheoreticalandPractice-basedResearchMethodstoInvestigateandArchiveEarlyVideoArt.SomeReflectionsfromtheREWINDResearchProjectsLauraLeuzzi,StephenPartridge&AdamLockhart.........................................................................52Zheng:NegotiatingArt,SoundandMedicineCulturesMichelleLewis-King........................................................................................................................52ContraAdorno'sCritiqueofTechnicsinMusic:Affect,AlienatedLabor,andCage'sAestheticsofIndeterminacyAndrewLim.....................................................................................................................................53TacticalListeningintheCity:AFeministTurnfromEyetoEarStephanieLoveless.........................................................................................................................53OnSeikoMikami:ACriticalReaderJung-YeonMa.................................................................................................................................53AlchemicalSensing—LayeringPerceptionthroughTechnologyLouiseMackenzie...........................................................................................................................54FREEDOMHIGHWAYEmmanuelMadan..........................................................................................................................54Screens—Connections,InteractionsandGesturesCharuMaithani...............................................................................................................................55BlindphonesAndreaMancianti...........................................................................................................................55ThefigureoftheAmateurforaGeneralOrganologyofSoundArtPracticesCedricMaridet................................................................................................................................56Eco-remediation:MySchizophonia'sCured!(No,It'sNot)AngelaMcArthur............................................................................................................................56VoicesforPastureAsaMendelsohn.............................................................................................................................56TheCloudandThinAir:ToolsforArtisticPracticethatDisappearTomMilnes.....................................................................................................................................57FromReadingtoSensing:TheArtofTechnologicalGrammatizationKyungsoMin...................................................................................................................................57CITYSOUNDJeremiahMoore.............................................................................................................................58InvisibleArchitecturesjakemoore......................................................................................................................................58ShiftingAffects:ConfrontingEmbodiedKnowledgethroughSoundandMovementSolomiyaMoroz..............................................................................................................................59Soundwalking:EntangledAgenciesand“AugmentedAur(e)ality”AnnaNacher...................................................................................................................................59SculptingaCloud:ResonantSoundscapesforTransgenicAeolianMicrobesJoelOng..........................................................................................................................................60EnvironmentsintheAirLenaOrtega....................................................................................................................................60

RE:SOUND2019

TheInhabitantsofColosseum(2018):CreatingHistoricalConsciousnessbyaSoundingSocialSculptureSolveigOttmann.............................................................................................................................61ActivatingObjectswithSound:NamJunePaik’sDaegamNoriPerformancein1990HaeyunPark....................................................................................................................................61Programmed:HistoriesofthePost-digitalNowChristianePaul................................................................................................................................62EchoandSpaceDescriptionoftheBehindBackRealityAnaPeraica.....................................................................................................................................62ToHearandtoBeHeard.AnApproachtoMicrobialPerceptionthroughArtandBiologyArtifactsMarianaPérezBobadilla.................................................................................................................63RevisitingtheStereoscopicArchiveasaProustianMemoryRecallingDeviceAngélicaPiedrahita.........................................................................................................................63Heartprint:AcousticTacticstoTuneinWithinEachOtherAngélicaPiedrahita&ErickVázquez..............................................................................................63SonicSchizorealism.ASchizoanalyticalPerspectiveonCiliaErens’SoundWorksandBinauralRecordingArkadiuszPółtorak..........................................................................................................................64ArchivingandCuratingActivistDesignonInstagram:The2018BrazilianPresidentialElectionVisualNarrativesDidianaPrata..................................................................................................................................65“Breath-taking”:Sound-writingtoSound-knowingJulieannaPreston...........................................................................................................................65TheNowofHistory:TowardsaTomographicWritingGailPriest........................................................................................................................................66ExplorationofSoundArtArchiveontheExampleofMedia-ScapeDijanaProtić...................................................................................................................................66Noiserr:CaseStudyofaLivingProcessualArchiveMartinaRaponi...............................................................................................................................67Socio-sonicInterventionsTullisRennie...................................................................................................................................67HumanBodyasaSoundInstrumentClaudiaRobles-Angel......................................................................................................................67Representation,ComplexityandControlJøranRudi.......................................................................................................................................68AlisonKnowles’“SoundPoetry”:TheInfluenceofMycologicalandAestheticDiscussionswithJohnCageonEarlyWomen’sFluxusAestheticsViolaRühse.....................................................................................................................................68FromTurntabletoNeuralNet:Craft,TechnoscienceandMaterialistPracticesofthe(Musical)Instrumentinthe20th/21stCenturiesChrisSalter&AlexandreSaunier....................................................................................................69Mictlan:ACyber-cartographyTheSearchfortheLovedOnes.ACollaborativeSocially-engagedArtProjectLuzMaríaSánchezCardona............................................................................................................69“FabricaciónesUniverso”Vanguard,SilenceandOblivionAdrianaSantosMelgarejo..............................................................................................................69PerforminginTime:TheCraftofLightInstrumentsAlexandreSaunier...........................................................................................................................70FreelyImprovisedandNon-academicElectroacousticMusicasUrbanFolkHaroldSchellinx&EmmanuelFerrand...........................................................................................70ThreeEnvironmentalities:TheSonicEnvironmentbetweenAtmosphere,EcologyandAmbienceUlrikSchmidt..................................................................................................................................71

RE:SOUND2019

RehearsingSensoryRepertoires:SoundArtCuratingatAlternativeArtSpaces1980s-2000sLinneaSemmerling.........................................................................................................................72ThePrimacyofSoundinRobertBresson’sFilmsAmreshSinha..................................................................................................................................72YourTongueinMyMouth:LipSynch,Dubbing,Ventriloquism,andtheOtheringofVoiceinDocumentaryMediaPatrikSjöberg.................................................................................................................................73ParafictionsandContemporaryMediaArt2008-2018RebeccaSmith................................................................................................................................73ConstraintandFreedominSound:FromthePortsmouthSinfoniatoNewAlgorithmsBrianReffinSmith...........................................................................................................................73WalkingandListeningthroughTime,Space,andTechnologiesJacekSmolicki.................................................................................................................................74Sound+Art=?APost-institutionalInvestigationoftheHistoryofCuratingHybridsMortenSøndergaard......................................................................................................................74Micro-ecologiesofSound:ElementalDialogatWorkNinaSosna&NikitaVasilenko........................................................................................................75SoundArtandOralHistoryNarrativesinaPost-conflictPerformanceofMemory:EngagingPublicsasListenersofPainfulPersonalPastsLuisSoteloCastro...........................................................................................................................75“MapSong”—ATextSoundPerformanceandTalkaboutVoiceandCartographyJosefSprinzak.................................................................................................................................76ExpandedActsofSeeing:Movement,GestureandListeningPollyStanton...................................................................................................................................76EartotheGround—HearingTechniquesandTechnologiesinSonificationJustynaStasiowska.........................................................................................................................76(Re)soundingBloodFlowComplexityD.Steinman,D.MacDonald,T.Natarajan,R.Windeyer,P.Coppin&D.Steinman.......................77SoundandClockElisaStorelli....................................................................................................................................77Transmission+Interference:DustDavidStrang...................................................................................................................................78MusicasaCredibleMetaphorofRealitybyLaibachJoannaSzczepanik..........................................................................................................................78TejidosAutomatas:SymbologyofLatinAmericanIndigenousWeavesfromCellularAutomataIvánTerceros..................................................................................................................................79‘Borderline’:RemakingPlacethroughSonicGeographiesJessicaThompson...........................................................................................................................79Tactile-sonicEnactments—OnAffectingandBeingAffectedbyAir(NotesofanInstallation“Untitled(2014)”)HeidiTikka......................................................................................................................................80OnTouching.TheInterspeciesPresenceinSoundEnvironmentsOlgaTimurgalieva...........................................................................................................................80TheSpatialEnvironmentsofJanetCardiffandGeorgeBuresMillerAnetaTrajkoski...............................................................................................................................81CreatingSonicTopologieswithElectronicMusictoDevelopaNewCosmologicalModelofConsciousnessWillardvandeBogart.....................................................................................................................81TheSydneyPythagoreanMusicSocietyandtheMagicPotencyofSoundPiavanGelder.................................................................................................................................81Open,HighandLow.GettingDeepintheSoundSourceCodeHernaniVillaseñorRamírez............................................................................................................82

RE:SOUND2019

LocatingtheSoundofTraumawithinMeAnnaWalker...................................................................................................................................82PreservingtheLegacyofPioneeringWomeninArtandTechnologyinNewYorkCity(1970-90s)RachelWard...................................................................................................................................83FutureAudition:ListeningtoPromisesof‘UnlimitedPowerfortheIndefiniteFuture’JulianWeaver.................................................................................................................................83ArchivalChronotopesAnnaYermakova.............................................................................................................................84SounguiKim'sArtisticPracticeandVision—SoundandSilencesince1970suptoNowSoojungYi........................................................................................................................................84SearchingforSilence—Audio-WalkingPerformanceIzabelaZawadzka............................................................................................................................85FromSilentFilmstotheDeafeningEffectoftheCinema:DeafViewersandtheMetaphorofDeafnessMagdalenaZdrodowska.................................................................................................................85DarkSituationismatRAND:AMediaArchaeologyofScenarioBuildingandtheAestheticFormalismsofFuturologyBrettZehner...................................................................................................................................85TheSoundofMineralStone:ChemicalPropertiesofCivilisationMOON(MartinaZelenika)..............................................................................................................86BorderlandsandBinaries:More-than-humanListeninginaTimeofEcologicalCrisisFreyaZinovieff&GabrielaAcevesSepúlveda................................................................................86

KEYNOTES&CURATORSPANEL

RE:SOUND2019–BookofAbstracts|2

RE:SOUND2019

JamieALLEN(CA) KEYNOTECriticalMediaLabBasel

BEYONDTHEMEDIAREVEAL:FULLOFSOUNDANDFURY,SIGNIFYING…WHAT?

Tues.August20,201909:30AM

ABSTRACTThemediaartsseemquiteconcernedwithaparticularsetofbinaries:mediumsandmessages,contextsandcontents,formsandfunctions.Thesedualitiesseemendlesslyfascinating,astheyallowforrepeatedreassertionsofmaterialistreveals,exposinghowaesthetic“illusion”isproducedby“real"infrastructure.Mediaartsandactivismareforeverdisclosingthenervytensionsbetweensignalsandtheirsubstrates,hiding-in-plain-sight—imagesarecomposedofpixelsthatconsumetheenergyofelectrons;movingimageslaidbareasamereperceptualdelusionofstroboscopicsequence;whatwecall“sound”entrainsnear-negligiblevariationsofpressurewaves;theInternetisbutacrisscrossingofwiresatthebottomofEarth’soceans;you’recarryingapieceofAfricaaroundinyourpocket.Onceinternalisedbycommunitiesofpracticeandconcern,andtakenupbypopularimaginariesandculture—thatis,oncethesepointsaremade—whatmorecanwedowiththeseinsights,whatcancomeaftertheseimportantmediareveals?Usingexamplesfromthestudy,theoryandpracticeofinfrastructures(madeofmatter,ideasandpeople)Iwouldlikeustothinktogetheraboutwhatwethinktheartsandsciencesofmediacandotopushbeyondthematerialistandconstructivistdebunkingofmediaasinfrastructure.Howmightwefindwaysofaddressingthecurrentcrisesofenvironment,politicsandidentityintechnologically-saturatedculturesthatprovidesomethinginadditiontothesenowsomewhatrepetitive,pseudo-novelreveals?Andhowcanweproductivelyquestionsuppositionsthatsuchrevelationisalwaysinherentlyinterestingorradical?Whatpreliminaryorspeculative,non-binaryandnon-representational,strategiesandopeningsappearwhenweceasepresuminganddeclaringtechnological-saturationasinescapable?Canhopefulinterventionsandimprovisationsoccurinthemedia-technologicalundercommons?AssomeoneIloverecentlysaidtome,“thethingsyoupayattentiontogrow”,andthequestionofwhatmediapractices,asartsofattention,cultivateandpropagate,isalwaysinneedofessentialre-examination.Whatenergiesandrelevancescanberecoveredinanart,researchandpedagogythatarenotinadvancedenaturedoreconomized,buthopeful,supportive,expressiveandgenerativeofthepresenceandattentionsneededtoallowgoodthingstogrow?JamieAllenisaCanadian-bornartistandscholarwhoinvestigateswhattechnologiesteachusaboutwhoweareasindividuals,culturesandsocieties.Hehasbeenanelectronicsengineer,apolymerchemistandanexhibitiondesignerwiththeAmericanMuseumofNaturalHistory.Helikestomakethingswithhisheadandhands—experimentsintothematerialsystemsofmedia,electricity,andinformationasartworks,events,andwriting.Heattemptstorecomposetheinstitutionsheworkswithinwaysthatasserttheimportanceofgenerosity,friendship,passionandloveinknowledgepractices,likeartandresearch.AllenisSeniorResearcherattheCriticalMediaLabinBasel,Switzerland,co-founderofthemedia,artandphilosophyjournalcontinentcontinent.ccandCanadaResearchChairinInfrastructure,Media&CommunicationsatNSCAD.


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SamsonYOUNG(HK) KEYNOTE

3CASESOFECHOICMIMICRY(OR,3ATTEMPTSATHEARINGOUTSIDEOFMYOWNF@#*&GHEAD)

Tues.August20,201905:30PM

ABSTRACTOntheoccasionofRE:SOUND2019,artistSamsonYoungwillpresentalecture-performancethatcentresontheconceptofechoicmimicryfromsocialpsychology.AdoptingartistPaulCarter’sunderstandingofitforcasesofcross-culturalencounter,YoungexaminestheconceptwithacasestudyofthegenealogyoftheubiquitousMoLiHua[JasmineFlower]song.TheversionwenowunderstandtobesynonymouswithChinesecultureactuallymostcloselyresemblestheversiontranscribedbyEnglishstatesmanJohnBarrowwhileonthefirstBritishembassytoChina.Barrow’stuneandaccompanyingtravelogueexplodedinpopularityacrossEurope,eventuallymadeitbacktoits“native”land,beforebeingreabsorbedintoChineseidentity.Withothercasesofsuchencounters,includingKennyG’sinfluenceonHongKongpopmusicandcenturies-unchangedJapaneseTogakunowusedasoneoffewextantsourcesofTangdynastycourtmusic,YoungconsiderswhatitmeanstohearwiththeearsofanOtherandquestionsnotionsofculturalpurityandauthenticityatlarge.Multi-disciplinaryartistSamsonYoungwastrainedasacomposer,andgraduatedwithaPh.D.inMusicCompositionfromPrincetonUniversityin2013.In2017herepresentedHongKonginasoloprojectattheHongKongPavilionofthe57thVeniceBiennale.OthersoloexhibitionsincludetheKunsthalleDüsseldorf;TalbotRiceGallery,Edinburgh;SMARTMuseum,Chicago;CentreforContemporaryChineseArtinManchester;M+Pavilion,HongKong;andHiroshimaCityMuseumofContemporaryArt,amongothers.Groupexhibitionsinclude:SolomonR.GuggenheimMuseum,NewYork;BiennaleofSydney;ShanghaiBiennale;NationalMuseumofArt,Osaka;NationalMuseumofModernandContemporaryArt,Seoul;anddocumenta14:documentaradio;amongstothers.HewastherecipientoftheBMW/ArtBaselArtJourneyAward,HongKongArtsDevelopmentCouncilArtistoftheYearAward,PrixArsElectronica,andtheBloombergEmergingArtistAward.In2019,hewasshortlistedfortheinauguralUliSiggPrize.HisworksareheldinthecollectionsofSolomonR.GuggenheimMuseum,NewYork;M+Museum,HongKong;MoriArtMuseum,Japan;andtheIsraelMuseum,Jerusalem.


RE:SOUND2019

BarbaraLONDON(US),ArnauHORTA(ES),SaloméVOEGELIN(UK),&MortenSØNDERGAARD(DK)

PANELChairedbyLioraBELFORD(CA)&JasonVANEYK(CA) CONVERSATIONWITHSOUNDARTCURATORS Wed.August21,2019

09:30AMABSTRACTHowhavecuratorshelpedadvanceinvestigationsintotheproduction,positioning,exhibitionandreceptionofwhatwecallSoundArt?Howhastheirtreatmentofadiversearrayofsonicpracticesenrichedourmodesofinquiryandmeansofknowledgemobilization?Track5Co-ChairsLioraBelfordandJasonvanEykinviteadiversegroupofinternationalSoundArtcuratorsforanopen,moderateddiscussiontoanswerthesequestions.Together,theyexplorethecriticalhistories,positionsandstrategiesthatinformtheirpractice.PANELISTSBarbaraLondonisacuratorandwriterwhofoundedthevideoexhibitionandcollectionprogramsatTheMuseumofModernArt,wheresheworkedbetween1973and2013.HerthematicprojectshaveincludedVideofromTokyotoFukuiandKyoto;NewVideofromChina;Anime!,Stillness(MichaelSnowandSamTaylor-Wood);AutomaticUpdate;LookingatMusic,parts1-3;MusicVideo:theIndustryandItsFringes;andSoundings:AContemporaryScoreatMoMA.Ms.LondonwasthefirsttointegratetheInternetaspartofcuratorialpractice.ThisincludesStir-fry(1994);Internyet(1998);anddot.jp(1999.)ShehasbeenadjunctprofessorintheYaleGraduateDepartmentofFineArt,aconsultantwiththeKadistFoundation.HerbookVideo/Art,theFirstFiftyYearswillbepublishedbyPhaidoninJanuary2020.Currentlysheisorganizingtheexhibition“SeeingSound,”whichIndependentCuratorsInc.tourstarting2020.ArnauHortaisanindependentcurator,artcritic,journalistandresearcherspecializedintherolesoflisteningincontemporaryartpractices.Hisworkfocusesbothinthephenomenologicalandpoliticaldimensionofsound.HecollaborateswithMACBA(MuseumofContemporaryArtofBarcelona),theNationalMuseumofArtReinaSofia(Madrid),thePicassoMuseumofBarcelona,CCCB(CenterforContemporaryCultureofBarcelona),SónarFestivalofAdvancedMusicandMultimediaArt,LoopFestival,EufònicFestivalandFAD(FosteringArtsandDesign).HeiscurrentlypreparingamajorexhibitionattheJoanMiróFoundationinBarcelona,scheduledforAutumn2019.HehastaughtattheIstitutoEuropeodiDesign(IED)andisaregularcontributortothenationalnewspapersElPaísandLaVanguardia.HeholdsadegreeinMediaStudies;anMAinTheoryandAestheticsofContemporaryArt;anMAinContemporaryPhilosophyandisaPhDcandidateinPhilosophywithadissertationonAlvinLucier’sseminalpiece“Iamsittinginaroom”.In2013hetookpartintheprogram“CuratingTime-BasedMedia”organizedbyIndependentCuratorsInternational(ICI)inNewYork.HehasattendedsymposiumsattheEdgeHillUniversity(Liverpool),TheNewSchool(NewYork)andtheMassachusettsInstituteofTechnology(Cambridge).Hisproject“OnListening”,commissionedbytheMuseumofContemporaryArtofBarcelona,ispartofRe-ImagineEuropeproject,co-fundedbytheCreativeEuropeProgramoftheEuropeanUnion.Hisproject“SonicGenealogies”,commissionedbytheNationalMuseumofArtReinaSofia,hasrecentlybeenreviewedintheinternationallyrenownedmagazineTheWire.Hispiece"AmIsittinginaroom?"(are-workofLucier’swork),hasbeenselectedin2017attheRadiophreniafestivalinGlasgow.SaloméVoegelinisanartistandwriterengagedinlisteningasasocio-politicalpracticeofsound.Herworkandwritingdealwithsound,theworldsoundmakes:itsaesthetic,socialandpoliticalrealitiesthatarehiddenbythepersuasivenessofavisualpointofview.VoegelinistheauthorofListeningtoNoiseandSilence:TowardsaPhilosophyofSoundArt,2010,SonicPossibleWorlds:Hearingthe


RE:SOUND2019

ContinuumofSound,2014,andThePoliticalPossibilityofSound,FragmentsofListening,2018.Voegelin’sworkbringsthephilosophyofsoundtoaparticipatoryengagement:sheco-convenesPointsofListeningwithMarkPeterWright.Whilethisseriesofmonthlyeventsengagesincollectivelisteningandcommunalsoundmaking,hertextualphonographyblogSoundWordsisanon-linetemplateforaparticipatoryandpubliclistening,writingandscoremaking.AsanartistVoegelinworkscollaborativelywithDavidMollin,Mollin+Voegelin,inapracticethatengageswords,thingsandsoundandfocusesoninvisibleconnections,transientbehaviourandunseenrituals.MostrecentlytheyperformedatErrantSoundinBerlin28.10.18,andtheirworkACartographyofknucklesandfingertipswaspartofLiminaria,collateraleventofManifesta12PalermoNovember2018.VoegelinisaProfessorofSoundattheLondonCollegeofCommunication,UniversityoftheArtsLondon.MortenSøndergaardisAssociateProfessorandCurator/CreatorofInteractiveMediaArtatAalborgUniversity,Denmark.HeisamemberoftheMediaArtHistoriesFacultyandtheco-founderoftheErasmusMasterinMediaArtsCulturesProgram.HeisalsoamemberofRELATE-ResearchLaboratoryofArt&Technology.PANELCHAIRSLioraBelfordisasoundartist,curator,ascholar,andaPhDcandidateatthedepartmentofArtHistory,UniversityofToronto.Herresearchfocusesonthecurationofsoundwithinthecontextofmodernandcontemporaryart,andinparticular,onJohnCage’scompositionsformuseums:museumcircle(1991),ChangingInstallation(1991),andRolywholyoverACircus(1991-95).SheishalfoftheartisticduoDuprassandco-owneroftheexperimentalrecordlabelIntervalRecordings(togetherwithIdoGovrin).HerrecentcuratedexhibitionsincludeImageComingSoon#1(2015);Pardes(2015),APieceforTwoFloorsandaCorridor(2015),andWarCraft(2019).SheiscurrentlypreparingListeningtoSnowfortheArtMuseum(Toronto),amajorexhibitiononthesoundworksofCanadianartistMichaelSnow(scheduledJanuary2020).Althoughatrainedclassicalmusician,JasonvanEykhasspentnearly20yearsdevelopinghiscareerasanaward-winningartsmanagementprofessionalwithapassionforsound-basedart.HehasorganizedshowsandpublicpresentationsforthelikesofA-plus-AGallery,TheCanadianMusicCentre,soundaXis,ScotiabankNuitBlancheandDoorsOpenToronto.Healsohaswrittenessays,interviewsandexhibitionreviewsforMusicworksMagazineandCoachHouseBooks.CurrentlyaPhDcandidateattheEuropeanGraduateSchool,Jason’sresearchfocusesonaddressingthe‘deafspots’withinhistoricalandtheoreticalunderstandingsofsoundwithincontemporaryart.Heengageswiththeassumptions,dividesandpredispositionstowardsoundthatconstraincurrentcuratorialthinking,therebypositingnewapproachesthatcanbeemployedbyartinstitutionsandtheircuratorstoadvancethesuccessfulexhibitionofsuchintermedialandmultidisciplinaryartwork.


RE:SOUND2019

SaloméVOEGELIN(UK) KEYNOTELondonCollegeofCommunication,UniversityoftheArtsLondon

SONICMATERIALISM:APHILOSOPHYOFDIGGINGANDGARDENING

Wed.August21,201905:30PM

ABSTRACTThiskeynoteascuratorialperformancebringstheheardanditsauditionintothesphereofthingsratherthanintothecontextoftheirnameandfunction.Itjoinsacurrentdebateonnewmaterialismbydevelopingviasoundandlisteningtheideaofmaterialismasamaterialismoftransformationthatreconsidersananthropocentricworldviewwithoutbestowingobjectswithmythicalself-determination;andthataccountsfortheobject’sautonomousagencyratherthanplacingitinamathematicalframe.Thus,itinvolvesanunperformingofthelexiconandofnumbers,andpracticesalisteningtotheinvisiblebyitsintensity,expanseandduration,tohearechoesofresponsibilityandthevibrationsoffleshinanimateandinanimatethings.Listeningtothesoundscape,thevoiceandsonicworks,thiscuratorialperformancerethinkscurrentideasofspeculativerealismandnewmaterialismviathein-betweenofthings.Itsuggeststhatwhilea‘masculinenewmaterialism’insistsontheabsenceofthehumantogettotheunthought,andthusultimatelyproposestheendofphilosophyinitsownmathematicalprobability,a‘sonico-femininenewmaterialism’bringsusthroughthecreativeperformanceofmatterandlanguagetotheseeminglyunthinkable,toreperformitnotinwordsbutonthebodyandonthings:doing,digging,gardeningasarevocalizationandrephysicalizationoftheorythroughitsinterbeingwiththings.SaloméVoegelinisanartistandwriterengagedinlisteningasasocio-politicalpracticeofsound.Herworkandwritingdealwithsound,theworldsoundmakes:itsaesthetic,socialandpoliticalrealitiesthatarehiddenbythepersuasivenessofavisualpointofview.VoegelinistheauthorofListeningtoNoiseandSilence:TowardsaPhilosophyofSoundArt,2010,SonicPossibleWorlds:HearingtheContinuumofSound,2014,andThePoliticalPossibilityofSound,FragmentsofListening,2018.Voegelin’sworkbringsthephilosophyofsoundtoaparticipatoryengagement:sheco-convenesPointsofListeningwithMarkPeterWright.Whilethisseriesofmonthlyeventsengagesincollectivelisteningandcommunalsoundmaking,hertextualphonographyblogSoundWordsisanon-linetemplateforaparticipatoryandpubliclistening,writingandscoremaking.AsanartistVoegelinworkscollaborativelywithDavidMollin,Mollin+Voegelin,inapracticethatengageswords,thingsandsoundandfocusesoninvisibleconnections,transientbehaviourandunseenrituals.MostrecentlytheyperformedatErrantSoundinBerlin28.10.18,andtheirworkACartographyofknucklesandfingertipswaspartofLiminaria,collateraleventofManifesta12PalermoNovember2018.VoegelinisaProfessorofSoundattheLondonCollegeofCommunication,UniversityoftheArtsLondon.


RE:SOUND2019

MarieHØJLUND(DK) KEYNOTEAarhusUniversity

ANATTUNINGAPPROACHTOSOUNDARTANDDESIGNINPUBLICSPACES

Fri.August23,201909:30AM

ABSTRACTWorkingwithsonicinteractiondesignandsoundartinvariouspublicspacescallforanecologicalandenactivemethodologyentailinginvestigationsofactorsandtheirinterrelationswiththeirrespectiveenvironmentsasattuningandexplorativeagents.BasedonmyPh.D.projectonsoundinDanishHospitals(2017)Ihavethusdevelopeda(dark)attuningapproachasamethodologicalframeworkcapableofaccommodatingboththemultisensoryatmosphereandtheactiveengagementoftheenactiveuserthroughpractice-basedexperiments.Inthekeynote,Iwishtoexploreanddevelopthisapproachthroughmypreviousprojectsengagingagiganticwind-millcontrollingthetempoofmusicthroughout2018intheprojectNephewvs.Overheard,imaginingthesoundworldofawomanturningblindthroughinteractivesounddesignforDancerintheDarkatAarhusTheatreandplacingarangeofsoundinstallationsaroundDenmarkmixedtogetherthroughaudiosatellitesonawebsitethroughout2017intheprojectTheOverheard.MarieHøjlundrecentlyfinishedapractice-basedPh.D.inAudioDesignatAarhusUniversityaboutsoundandatmospheresinDanishhospitals.Duringherwork,Højlundhasbeenengagedindevelopingsoundtechnologiesforalternativelisteningsituationsandsoundenvironmentsforvariouspublicspaces.WorkingasasoundartistshehasexhibitedaroundDenmarkincludingKunsthalAarhus,KunstenAalborgandSporFestival.Asacomposer,underthealiasMarybellKatastrophy,shehasreceivednumerousgrants,awardsandcommissionsandreleasedseveralalbums.SheisalsoapartoftheDanishbandNephew.


RE:SOUND2019

ChristophCOX(US) KEYNOTEHampshireCollege

MATTER,FLOW,SOUND,POLITICS Fri.August23,201905:30PM

ABSTRACTInthistalk,Ipresentanoverviewofsonicmaterialismandforegrounditspoliticaldimension.Icontrastthismaterialistpositionwithalternativepositionssuchasobject-orientedontologyandprominentversionsofpoststructuralism.Sonicmaterialism,Iargue,necessitatesattentiontoseveralspatio-temporalscales,fromthecosmicscaletothescaleofindividualactionsandevents.Alongtheway,Idevelopfourclaims:(1)thematerialistclaimthatmatterhastemporalandontologicalpriorityovermindandculture,(2)thatmaterialismrequiresatheoryofflows,(3)thatartistictechnologies—photography,phonography,radio,film—amounttovariouswaysofcuttinginto(or“sampling”from)materialflows,and(4)thatpoliticsconcernstheforcesthatcaptureorharnesstheseflows.ChristophCoxisProfessorofPhilosophyatHampshireCollege.HeistheauthorofSonicFlux:Sound,Art,andMetaphysics(UniversityofChicagoPress,2018)andNietzsche:NaturalismandInterpretation(UniversityofCaliforniaPress,1999)andco-editorofRealismMaterialismArt(Sternberg,2015)andAudioCulture:ReadingsinModernMusic(Bloomsbury,2017;Continuum,2004).TherecipientofanArtsWritersGrantfromCreativeCapital/WarholFoundation,Coxiseditor-at-largeatCabinetmagazine.HiswritinghasappearedinOctober,Artforum,JournaloftheHistoryofPhilosophy,TheWire,JournalofVisualCulture,OrganisedSound,TheReviewofMetaphysics,andelsewhere.HehascuratedexhibitionsattheContemporaryArtsMuseumHouston,TheKitchen,TheArtist’sInstitute,CONTEXTArtMiami,NewLangtonArts,GFineArtGalleryandothervenues.


RE:SOUND2019

PAPERPRESENTATIONS


RE:SOUND2019

FreidaABTAN(UK) Goldsmiths,UniversityofLondon

FearofFlight:ExpandedPresenceandInter-sensoryGestureinMultimediaPerformance Track4

ABSTRACTFearofFlightinvestigatestheintersectionofsurroundaudiovisualcompositionandliveperformancetodrawmeaningfulconclusionsabouttheexperienceofpresenceandtheroleoftheperformerwithinimmersivemediacomposition.Theproductionintegratesabstractaudiovisualnarrativewithalivedancer’sfloorandaerialperformance.Italsoconsidersthesensoryexperienceoftheaudience,whomustadapttotheirownphysicalsituationinthesurroundprojectionenvironment.Real-timevideocaptureisemployedtosynchronizeaspectsofthedancer’smovementintheairwiththeaudiovisualcompositionduringtheperformance.Partoftheaestheticandtechnicalchallengeofthepieceliesintheseamlessintegrationofhigh-resolution,pre-rendered,audiovisualmaterialwithaudiovisualmaterialthatisgenerateddynamicallywithinthemomentofperformance.AmongthetheoreticalissuesthatcontributedtoFearofFlight’sdevelopmentaretheimpactofimmersionontheperceptionofcompositionaldialog,andthemechanismsbywhichpresencemaybeexpandedanddislocatedfromaperformingbodythroughmediation.Thewrittentextexplorestheseissuesbyexamininghowtechnologiesofrepresentationcommunicatepresencewithinthecontextofperformance,andhowbothpresenceandtheaudiencesituationmightinfluencetheconstructionofmeaningwithinacomposition.GabrielaACEVESSEPÚLVEDA(CA) FreyaZINOVIEFF(CA)SimonFraserUniversity SimonFraserUniversity

TheSoundscapesofLimaandMexicoCity:Race,GenderandSoundintheWorkofMonicaMayerandVictoriaSantaCruz Track2

ABSTRACTThispaperdiscusseshowfeministartistsworkinginMexicoandPeruinthe1970susedsoundasanintegralelementoftheirartpractice.ThegroundbreakingnatureoftheirworkiscontextualizedbythesonicpracticesoftheWorldSoundscapeProject(WSP),atSimonFraserUniversityinCanada.TheWSP,knownfortheirformulationofthefieldofAcousticEcology,wasnotconcernedwiththegenderedandracializednatureofurbansoundscapesatthattime.FocusingontheparticipatoryinstallationElTendedero(TheClothesline)byMexicanartistMonicaMayerandtheperformanceMeGritarónNegra(Theyshoutedblackwomenatme)byAfro-PeruvianartistVictoriaSantaCruz,thispaperexploresthewaysinwhichbothartistsrecurredtosoundtomakevisiblehowraceandgenderdifferencewhereconstructedandexperiencedthroughtheirrespectiveurbansoundscapes.InElTendedero,MayeraskswomentorecordthesoundsofsexualandracialslursexperiencedthroughoutthestreetsofMexicoCityviatext,whileSantaCruzperformsliveandvideorecordsapoemrecallingherchildhoodexperiencesofgenderedracializationinherbarrioinLima.ByjuxtaposingtheaboveworkswithacritiqueoftheearlyworksoftheWSP,theforward-thinkingnatureofthesetwowomenishighlighted.Bybringingattentiontotheworkoftheseartists,thispaperseekstocontributetothetheorizationoftheoccurrenceofsoundasakeyanddefiningelementinthehistoriesofmediaarts.And,moreimportantly,tocontributetofeministscholarshipthatisrecoveringthecontributionsofwomeninsoundandtechnologytountanglethegenderassumptionsthathaveexcludedtheirworkfromthehistoriesofmediaarts.XimenaALARCÓN-DÍAZ(NO) AlexanderREFSUMJENSENIUS(NO)RITMOCentreforInterdisciplinaryStudiesinRhythm,TimeandMotion,UniversityofOslo

RITMOCentreforInterdisciplinaryStudiesinRhythm,TimeandMotion,UniversityofOslo

“Ellosnoestánentendiendonada”[“Theyarenotunderstandinganything”]:ListeningtoEmbodiedMemoriesofColombianMigrantWomen,ReflectingonConflictandMigration

Track3

ABSTRACTExploringtheroleofthebodyasaninterfacethatkeepsmemoryofplace,INTIMALphysical-virtual“embodied”system,integratesbodymovement,voice,andanoralarchive,asanartisticplatformforrelationallistening(Alarcón,2019),usingnetworkingtechnologiesfortelematicsonicimprovisatoryperformances,inthe


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contextofgeographicalmigration.INTIMALhasbeeninformedbyacasestudywithnineColombianmigrantwomeninEurope,listeningtotheirmigrations,andtoanoralarchivewithtestimoniesofconflictandmigrationbyotherColombianmigrantwomen.1Thefirsttwointerfacescreatedforthesystem:MEMENTO(aspokenwordretrievalsystem),andRESPIRO(fortransmissionandsonificationofbreathingdata),havebeentestedbytheresearchparticipantsinatelematicsonicimprovisatorypublicimprovisatoryperformance2betweenthecitiesofOslo,Barcelona,andLondon.Intheperformance,proposedasashareddream,a“complexnarrative”(Grishakova&Poulaki,2019)emerged,forboththeimprovisersandtheaudiences.Inthispaper,wedescribetheconditionsofthenarrativeenvironment,andtheembodiedexpressionsthatemerged—includingbodymovement,voice,spokenword,andbreathing—establishingconnectionsbetweengenderedmigration,andColombianconflict.Wereflectonhowdistributedimprovisatoryembodiedexpression,andrelationallisteningthroughtechnologicalmediations,aidstheprocessofcollectiveremembering(Wertsch,2001),inacomplexcontextofconflictandmigration.References:Alarcon,Ximena(2019)."ConceptualdesignforINTIMAL:aphysical/virtualembodiedsystemforRelationalListening".SomaestheticsandTechnology.JournalofSomaestheticsVol4No2,March2019Grishakova,MarinaandPoulaki,Maria,Eds(2019).NarrativeComplexity,Cognition,Embodiment,Evolution.UniversityofNebraskaPress.Wertsch,J.(2002).Voicesofcollectiveremembering.Cambridge:CambridgeUniversityPress.1CollectedbytheorganisationDiasporaWomen.http://mujerdiaspora.com2https://intimal.net/2019/05/09/streaming-version-intimal-long-distance-improvisation-may-7-2019/PauALSINA(ES) UniversitatObertadeCatalunya

Art,ScienceandTechnologyPracticesasArtisticResearch Track4

ABSTRACTAffirmingtheonto-epistemological(Barad2003,2007)natureofallresearchpracticesprivilegesthehow-question,acknowledgingthatallthesepracticesareatoncespecificintermsoftheknowledgeproducedandgenericinonto-epistemology(vanderTuin2014).Thisstudyofpracticesofknowinginbeingallowsustomapoutresearchpractices,enablingandconstrainingthroughdisciplinarity,anditsrestrainingmechanismswhosespecifictheoriesormethodsconstrainwhatcanbeknownunderadisciplininglogictobedefended(Guggenheim2006),throughinterdisciplinarity,transcendingthoseconstraintsthroughfusionorcollaborationbetweendifferentdisciplinesthatcreateanin-betweenunclearstage,andthroughtransdisciplinarity,introducingactorsoutsideofscienceasanintegralpartofknowledgeproductionbreakingwiththeassociatedviewofanautonomousscience.Asithasbeensaid,artisticresearchasamodeofknowledge(Borgdorff2011)inventstransformingandelucidatingfundamentalepistemologicalandontologicalassumptionsthroughitsinterdisciplinaryortransdisciplinaryprocessesinvolved.Buthowcanthisartisticresearchpracticesbemodelledinthecontextofart,scienceandtechnologyinterconnections?Inwhichsensedotheyfollowtherequirementsofartisticresearchasaspecifictypeofknowledgethatstaysinanexperimentalstate?Withwhichmethodologies?Andhowcanthisbeacknowledgedasknowledge?Inthispaperwewillreflectonsomeofthisquestionsbasedonseveralcasestudiesofartspractice-basedresearchwithinthecontextofaPhDProgramandtheanalysisdoneduringrecentyearsinthecontextofCAIRE,theClusterofArtisticResearchthatinvolvesthreeuniversitiesandHANGARCenterforArtisticResearchandProductioninBarcelona.AfifARABI(LB) SaharSHARARA(LB) InternationalUniversityofBeirut

GamalAbdelNassertheRadioStarandMusicCulture Track3

ABSTRACTIn1952,agroupofEgyptianmilitaryofficersledbyMohammedNaguibandGamalAbdelNasserorchestratedasuccessfulcoupd’etatinEgyptandoverthrewtheBritishbackedmonarch,kingFarouk.ThiseventbecametobeknownastheJuly23rd,1952revolutionbytheFreeOfficersMovement.TheimmediateoutcomeofthisrevolutionwastheendoftheBritishoccupationofEgyptanditsrulingarm–theMuhammadAlidynasty,theestablishmentoftheEgyptianrepublic,andthebeginningoftheNasserismeraandArabsocialism.


RE:SOUND2019

OnNovember14,1954,NassernotonlybecamethepresidentoftheRepublicofEgyptbutalsotheiconicleaderoftheArabworld.HewasthefirstArableadertosuccessfullycapturetheheartsandmindsofArabsacrossthecolonialdivideintheMiddleEastandNorthAfrica.Muchofthissuccessisgenerallyduetohisnationalistideologyandmainlyduetohischarismaticcharacterandhispassionatevoice.Hebecametheanti-colonialvoiceand‘radiostar’presidentofallArabs.HishourslongspeechesbroadcastedliveovertheradioacrosstheArabworld.HundredsofmillionsofArabsattentivelytunedtohisspeechesathomes,incafés,incarslisteningtohimindividuallyandingroups.HisradioaddressesbecameaculturalactivityingrainedinthememoryofArabadultsandchildrentillpresenttime.ThispaperexaminesthehistoryofthesoundculturecreatedbyNasserismanditsomnipresenceinthecollectivememoryofArabminds.ThissoundcultureiscomprisedofNasser’suniqueradioperformance-hisvoiceanddeliverystyle,andoftheNasseristpoliticalsonginEgyptandtheArabWorld.ClaudiaAROZQUETA(AU)

UniversityofNewSouthWales

SonetLumière:TheBodyasaPerformanceInstrument Track6

ABSTRACTSonetLumière:BodilyFluidsandFunctions,aperformancebyScottishartistsMarkBoyleandJoanHills(laterperformingastheBoyleFamilywiththeiroffspring),waspresentedforthefirsttimeatLiverpool’sBluecoatsArtsCentrein1966.Itinvolvedtheproductionofbodilysecretions(nasalmucus,urine,sweat,blood,sperm,gastricjuices,etc.),visualexaminationusingprojectedmicroscopicimagesofthesubstancesstainedwithdye,andtheamplificationofthesoundsoftheirproduction,thesoundofheartbeatsandotherinnerconditionsofthebody.Inthecontraculturalspiritofitstimeandinconcertwithincreasedcorporealandsexualcandor,anatomicalmaterialswereexploredandthelimitsofthebodywerecontested.ThispaperwilldiscusstheroleofscientificinstrumentationandmediatechnologiesinversionsofSonetLumièreperformances,asmeanofexteriorizationandinteroceptionenablingthebodyitselftobecomeaperformanceinstrument.Thisanalysisisinformedbymygeneralhistoricalresearchprojectonpulsesandheartbeatsinthevisual,mediaandsoundartsand,specifically,thetechnologicaltransformationsoccurringduringthe1960sinfluencingrelationshipstothebody.AndrewJaredASHBURN(US) OklahomaStateUniversity

SignalArchaeology:PostwarElectroacousticsandElectronicImaging Track1

ABSTRACTThisessayrevealstheconnectionsbetweenelectroacousticsoundandelectronicimaging.Theconnectionshavebeenobscuredfortheconstructionoflinearandtotalizinghistoricalnarrativesthatassertelectronicimaging'srelationtoandevolutionfromthemechanicallyreproducedopticalmediaofphotographyandfilm.Itisarguedherethatelectronicimagingisinsteadrelatedtotheriseofelectroacousticsinthepostwarperiod.TheKitchenforElectronicMediaanditsearliestincarnationPerceptioninNewYork,NYfunctionedasasiteofinterdisciplinaryexperimentationbyartists,performers,scientists,andengineers.FromresearchperformedatTheKitchenandthroughthevideotape,NoisefieldsbySteinaandWoodyVasulka,thatwascreatedthereduringthistime,wecangainaperspectiveofthecircumstancesthatledtoanintensecollaborationbetweenartistsandengineerstoformperceptualandartisticresponsestothenewelectronicmedia.ItisarguedherethattheinitiativesofTheKitchenandPerceptionproducedinfluentialartworksbutalsobodiesofknowledgethatfunctionforthispaperasawaytoaccessthestakesofasharedmedium-specificityandhelptodiscernthescopeofthepotentialofanalogaudio-videotechniques.Thesebodiesofknowledge,asitregardstothetechnical,perceptualandaestheticuseofthenewelectronicmedia,weresubjugatedbytheintroductionofcinematictechniquesandinthemid-1970sthesiteofexperimentationshiftedfromalaboratory-basedenvironmenttoastudio-basedproductionfacility.Thisforeclosurepresentsatemporarilyabandonedhistoricalrouteasthebodyofknowledgethatemergedfromthistimeperiodcontainedtheaestheticandtechnicalpotentialtoworkdirectlywithtime-continuousx(t)signalsthathaveresurfacedincontemporarymethodsofdataacquisition,visualizationtechniquesand3-Danimationperformedindigitalenvironments.


RE:SOUND2019

GillesAUBRY(CH) UniversityofBern

Listeningtothe1960AgadirEarthquakeandSituatedUnsoundsintheFilmEssay“SalamGodzilla” Track7

ABSTRACTDrawingfrommycurrentartisticPhDresearchinMorocco,Ilookatafewexamplespertainingtomateriallistening,foregroundingparticularformsofsituatedauditoryknowledgeandsonicpractices.Thefirstexampleisanaccountofthe1960AgadirearthquakebylocalpoetIbnIghil,asopposedtothetechnocraticlisteningoftheinternationalexpertteamappointedatthetimeforsupervisingthereconstructionofthecity.Thesecondexamplerelatestothere-appropriationof1920sBerbermusicrecordingsfromtheFrench“ArchivesdelaParole”(SpeechArchives)bysingerAliFaiq.Thethirdexampleisaboutmyownpracticeasasoundartistusingperformativefeedbackasanattempttoengagewithmyown“whiteaurality”.Allthethreeexamplesareaddressedinmyvideoessay“SalamGodzilla”(41',2019),whichwillbeonviewduringtheconference.CatherineBAKER(UK) BirminghamCityUniversity

EncounterswithMedicine Track6

ABSTRACTItislikelythatmostofuswillencounterillnessatsomepointinourlifetimesorthroughthelivesofthosewecareabout.CancerpatientswhoundertooktheMcGillQualityofLifeSurveystatedthattheonethingmissingfromthesurveywasarecognitionofwaitingasacentralpartoftheirexperienceofillnessandtheconditionsunderwhichthewaitingtookplace.1Thewaitingoftentakesplaceinmedicalenvironmentsthathavetheirowndistinctsoundscapesandinparticulartheprocessofdiagnosisisaccompaniedbyunmistakable,unknownsoundsthatbecomeacentralpartofawiderdialoguewiththeexperienceofillness.Theartist’sfilmcentraltothispaperwasdevelopedwithpatientsabouttheirexperienceofwaiting,becomingvoicelessinanunfamiliarandmanifestlyresonantsituationpunctuatedbymomentsofsilence.Acriticalpartofthedevelopmentoftheworkwastofindawaytocapturethealonenessofwaitingembodyingthebody-environmentconnectionwithdiagnosticsound,attemptingtoseeinsidethebody.RecordingsofMRI:EpiandT2sequencescoupledwiththemechanicalchirpoftheMRIcooler,bothdelicateandsinisterinchorus,plusthesoundofsubmergingintowaterwerecapturedandcomposedintoanessentialsoundpieceechoingboththeprocesstowardsmedicalverdictandthepracticeofarticulatingthepatientshumanexperience.Bothsoundscapeandmovingimagecoalescetoexpressthecomplexlivedspatialityofembodimentandthechangedcharacteroflivedtemporality,symbolizingtheexperienceofdiagnosisandillnessasbothadisruptionofthelivedbodyandthedysfunctionofthebiologicalbodyexploredthroughthemedical-science/artinterface.1.S.RobinCohen,BalfourM.Mount,JonJ.N.TomasandLaurenF.Mount,“ExistentialWell-BeingIsanImportantDeterminantofQualityofLife:EvidenceformtheMcGillQualityofLifeQuestionnaire,”Cancer,77:576–586pp.AuraBĂLĂNESCU(RO) ArtMuseumTimisoara

TheThirdSound.AnArcheologyofStereoImmersiveInstallation Track6

ABSTRACTInTransdisciplinaryManifesto(1996),RomanianphilosopherBasarabNicolescu,questioning:"Whatisreality?"givesusaninterestinganswer:"Therealityislikeabar.Ifyoutrytoseparatedepoles,youwillfail.Theonlywaytotranscenddualityistoimplodethecontraries".Workingwithvarioustechnologicalsimulatedstimuliofstereoscopic/stereophonic/stereo-haptictouchingandkinesthesiatotranscendthesculpturalobjectintoanenvironmentfullofmultimediaandsynestheticeffects,Ihavealwaysbeenfascinatedbytheapplicationofthe<thirdstateofmindprinciple>.Seenasacorollaryofthethirdimage/thirdsound/thirdtouch/thirdbody,thethirdmindprinciplestemsfromtheimplosionofleft-rightperceptionmediatedbythecharacteristicsofstereoimmersiveinstallation.1stCharacteristic.Stereoimmersiveinstallationcontainsthepremisesoftrans-representation,theperceptionofvirtualasamentalghostimage/ghostsound/ghosttouch/ghostbodybeingdeterminedbytheimplosionofleft-rightretinal/auditive/tactile/kinestheticdisparity.Theimplosive


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coexistenceoftheoppositereceptorsopenstheterritoryoftotalperspectiveofhyperreality.2ndCharacteristic.Stereoimmersiveinstallationcontainsthepremisesoftrans-perceptiondefinedbythesynesthesiaof<innerview/hear/touch>ofthevirtualworldthatinvolvesanimperiumofsensesincontrasttotheclassicalfragmentary<outerview>ofexternalworldofobjects.Thetrans-perceptivestateremindsusthemultilevelrealityofPlato'scave.3rdCharacteristic.Stereoimmersiveinstallationcontainsthepremisesoftrans-consciencedefinedbythesynes-thesisoftheclassical/rationalthesisandanticlassical/irrational/antithesis,animplosionofWölfflin’sBinomial.MarshallMcLuhanobservedthatthecapacityofelectricitytoimplodethepolesofrealitytakesoutthehumansfromrationalfragmentaryparadigmofdialecticthinkingandplacesthemintotheintegralworldofhearingandconsciousness.

HeidiBARKUN(CA) UniversitéduQuébecàMontréal

HereIAmNotaWoman:QuantifyingtheFailureofInVitroFertilization Track3

ABSTRACTIexploreconstructionsofidentitythroughatransdisciplinarypractice,seenthroughafeministandscientificlens.Thefocusoninfertilityinmyrecentworkfollowssixyearsoffailedattemptsatinvitrofertilization.Myartworksspeakofaprocessthatdoesnotcreatelife–afailureofthebody,andofthesciencethatseekstorepairthisfailedbody.Iconsiderthefailuretobecomemotherforabodyconstructedbythesamesocial,politicalandmedicalsystemsthatputmotherhoodattheforefrontofwomen’slives(Guillaumin,1992).Fertilitytreatmentsareprofoundlygendered,intermsofphysicalinterventionsandthedivisionoflabour.Thesepowerinequalitiesimpactonhowthefemalebodyisperceivedandgivenspace,withinthemedicalsystem(Delphy,1998;Throsby,2002).ForRE:SOUNDIproposealivereadingperformanceofanEnglishversionofthesound-basedartworkÉchecquantifié(QuantifiedFailure).Inthis20minutespokenrecord,Ireciteallthemedications,medicalappointmentsandintimatemeasurementstakenday-to-dayduringmyfifthandfinalcycleofinvitrofertilization,whichlasted56days.Thisdiaryusesvoicetoactivatememory,asreadingthelistbecomesavehicleoftranslationformymultilayeredexperience.AttimesItriporstutteroverscientificnamesofmedications;theselinguisticdifficultiesreflectmyattemptstosurmountalltheforeignsubstancesinjectedandingestedduringtheprotocol.Mybodybecomesincreasinglymedicalizedforprocreativemeansandintheendisconfirmedasadysfunctionalspace;theartworkendswiththethudofthefinalresult:“zeroembryos”.Myreproductiveandmedicalfailureismeasured,calculated,andputondisplay.Thisspeakingofmycorporealfailureisaconsciousactofresistanceagainstthetabooofinfertility,thevenerationofscience,andthenormativevoicesofWesternsociety.BibliographyDelphy,C.(1998).Avant-proposL'ennemiprincipal.1.Économiepolitiquedepartiarcat(pp.3-29).Paris:ÉditionsSyllepse.Guillaumin,C.(1992).LecorpsconstruitSexe,raceetpratiquedupouvoir:l'idéedenature(pp.117-142).Paris:Côté-femmes.Throsby,K.(2002).'Vials,AmpoulesandaBucketfulofSyringes':TheExperienceoftheSelf-AdministrationofHormonalDrugsinIVF.FeministReview(72),62-77.DuncanBASS(US) SchooloftheArtInstituteofChicago

AMediaArtCanon? Track9

ABSTRACTDigitaldeviceshavecometodominateourlivesyetdigitalartremainsanoutlierinthelargerworldofcontemporaryart.Theartisticadoptionofelectriclightsandmotorsdatesbacktoavant-gardepracticesofthe1920s.Thefirstcomputer-generatedartworkswerecreatedinthe1950s,yetatthecloseofthetwentiethcenturymostoftheacademicliteratureonthesubjectwaswrittenbyartistsandscientistsratherthancriticsandhistorians.Sinceitsinceptionin2005,theMediaArtHistoriesconferenceserieshasattemptedtomakethesehistoriesvisible,andarecentsurgeofmajormuseumexhibitionssuggeststhewiderartworldisbeginningtotakeacknowledgetheseefforts.Thissuccessbringswithitnewquestions;primarily,isthereanyconsensusastowhatartists,artworksortheoriesconstitutethekeystonesofmediaarts,effectivelyamedia


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artscanon?Thishistoriographicpaperexaminesanumberofsurveytexts—byauthorsincludingRudolfFrieling,OliverGrau,JonIppolito,andChristianePaul—comparingtheselectionandtreatmentofartists,artworks,andtheoriesdeemedhistoricallysignificantbyeachauthor.ThesefindingsarethencomparedtothechecklistsofseveralmajorexhibitionsheldinEurope,theUnitedKingdom,andtheUnitedStatessince2016:ElectronicSuperhighway(2016–1966)atWhitechapelGallery,ArtinMotion:100MasterpieceswithandthroughMediaatZKMKarlsruhe,Programmed:Rules,Codes,andChoreographiesinArt1965–2018attheWhitneyMuseumofArt,TheArtHappensHere:NetArt’sArchivalPoeticsattheNewMuseum,andtheongoingexhibitionseriesMutations/CreationsattheCentrePompidou.Thesepublicationsandexhibitionsaretheprimaryculturaltextsresponsibleforestablishingahithertounwrittenhistory.Thiscomparativeanalysisaimstocriticallydiscernanyconsensusamongstscholars,curators,andinstitutionsontheexistenceandcontentsofanhistoricalcanonofmediaart.TilmanBAUMGÄRTEL(DE) HochschuleMainz

Archiving“PiazzaVirtuale”or:HowILearnedtoStopWorryingandLoveFaxes Track8

ABSTRACTThemediaproject"PiazzaVirtuale"wasaseminalexperimentinwhattodayisknownas"SocialMedia"-shortlybeforetheinternetmadetheleapfromacademicnetworktoemergingmassmedium.WhentheartistcollectiveVanGoghTVundertookthisdaringenterpriseduringthe100daysofthedocumentain1992,theyhadtousethemediathatwereattheirdisposalatthattime:television,telephone,faxandcomputermailboxesinordertorealiseBrechtsvisionofamediumwheretheconsumerswouldbeturnedintoproducersofmediacontent."PiazzaVirtuale"hasnotbecomepartofthecanonoftelecommunicationartprojectssofarpartlybecauseverylittlematerialwasaccessibleuntilrecently.SinceAprilaresearchprojectoftheHochschuleMainzandtheUniversitätBonn-thatissponsoredbytheDeutscheForschungsgemeinschaft(DFG)-isfinallyputting"PiazzaVirtuale"backonthemap.Withfullaccesstoalltherecordingsofthetelevisionandsatellitebroadcasts,thecompletepaperfilesoftheorganizationandbymeansofextensiveinterviewswithmanyoftheover100artistsandhackersinvolved,wewanttoreconstructthemanywayshow"PiazzaVirtuale"antedatedthenetcultureoftoday.Partofthechallengeoftheprojectistheheterogeneityofthematerialwehavetoprocess.Whatoriginallyseemedtobeanobstacle,nowincreasinglyappearstobeablessingindisguise:Muchofthematerialisinformatsthathavesurvivedtheconstantchangingoffileformats,“bitrot”andthedecayofstoragemedia.Wealreadylearnedmanyvaluablelessonsonhowtoprocessthekindofmaterialthatwascreatedduringtherunoftheproject-andalsoaboutthechallengesthatfuturehistorianmightencounterwhenworkingonsimilarprojectsthatwerecreatedsubsequentlyontheinternet.Anne-GritBECKER(DE) FreeUniversityofBerlin

ToBeLookedAt/ToBeListenedTo.Rauschenberg’sPaintingwithaVoice Track4

ABSTRACTBroadcast,anunusual“Combine-painting”byRobertRauschenberg,concealsbehinditssurfacethreeradios,whichcanbeoperatedbyturningtwoprotrudingknobs.Thoughdifferentlytuned,theelectronicdevicesareprogrammedtoplayallatoncefillingthesurroundingroomwithcompetingbitsofinformationandcacophonicnoise.Datingbackto1959Rauschenberg’sfirstaudiovisualpiecewastriggeredbyhisinterestintherelationthatsoundwouldhavetolooking.Contrarytotheideaofa“purelyopticalexperience”(Greenberg1960),thendominantindiscoursesonmedium-specificity,Broadcastconfronteditsaudiencewithadoublesensoryeffectthatcouldnotbeconfinedtoacoherentwholebutinsteadresembledtheappearanceof“amultiple-imageTVscreen”(Sandler1960).ThispaperproposestoexamineRauschenberg’sinvolvementwithsoundasaturningpointtowardhisfutureExperimentsinArtandTechnology.Drawinglightonthecircumstances,whichledtothecreationofBroadcast(e.g.Rauschenberg’scollaborationwiththeatre)aswellasquestioningtheartist’sworkingprocedure,soundwillbediscussedasaninvisiblematerialthatwasusedtorefocustheobjectasanongoingtemporalevent.“Listeninghappensintime.Lookingalsohadtohappenintime,”thevisualartistdeclaredwhilesearchingforacorrespondencebetweenthepainting’smaterialstructureandthefactthatit


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simultaneouslyhadavoice.CorrelatingRauschenberg’sownreflectionswithfurtherreactionsfromtheaudience(especiallyfromfellowartistJohnCageandtheoristLeoSteinberg),theconsequencesofmovingintotherealmofsoundwillbeplacedinawiderperspective,too.ThusbyintegratingexemplaryvoicesfrompastandpresentintothesoundproducedbyBroadcastitself,mediatechnologywillbeshownasanintegralelement,whichenabledtheworktoremainopenandwhichinvitedtheviewer’sandlistener’sparticipationalike.LauraBELOFF(DK) ITUniversityofCopenhagen

HearingTest–n:o2 Track6

ABSTRACTThearticleaddressesthefieldsofmedia-artandart&sciencewithanapproachacrosstechnologyandbiologythrougharticulationofinterestsandmotivationsforapractice-basedproject,whichisanexperimentandaninstallationconsistingoflivingplants,audiorecordingsoftheplants’rootsandoveralltechnologicalsetup.Theprojecthasbeeninspiredbyrecentscienceresearchinacousticemissionsinplantsandtheirpossiblemeaninganduseasacommunication.Basedonthedetectedbioacousticsemissionstheresearchershavemadeclaimsaboutintelligenceandcognitiveabilitiesofplants–thatplantscanhear,communicate,rememberand,ingeneral,sensetheirenvironmentandotherspeciestoadegreethathasbeenuntilnowbeyondhumanpresumptions.Inthefocusoftheprojectisadetectionofhighfrequencyclickingsoundsregularlyemittedbythetipsoftheplants’roots.Accordingtoscientistsplantrootsproducehighfrequencyclicksbetween20-300kHzbyburstingofairbubbles.Theseclicksarejustabovehumanhearingrangeof20Hzto20kHz.Itisnotclearforscientistswhythisphenomenonofclickingroot-tipsishappening.Theaspectofnot-yet-knowingleavesopennessforinterpretationsandimagination,butalsoitpointstothefactthattheremightbeotherdiscoveriestobemade.Theartisticinvestigationintothisphenomenonhasbeenabottomsupexploration,inwhichtheclicksaredetectedandplayedoutforusinahumanhearingrange.FurtherplansincludeimplementationofanAIcomponentthatdetectpatternsintheemergingclicks.Theprojectaskswithaslightlycynicaltone-willhumanseverbeableofareciprocalcommunicationwithanotherspeciesorevencapableof‘hearing’anotherspecieswhichdiffersfromus-suchasaplant?JustinBENNETT(NL) InstituteofSonology,RoyalConservatoryofTheHague

PublicSpaceasAcousticTerritory Track3

ABSTRACTSonicinterventionsinurbanpublicspacesareoftenconfrontationalandproblematic,perhapsbecause"publicspace"isitselfalreadyacontestedsite.Theconventionsandetiquetteofthehabitualusersofthespacealongwithnoise-abatementregulationsorthearbitraryrestrictionsof"privatelyownedpublicspaces"mustformtheframeworkforanyintervention.Publicurbanspacecanbeseenasaseriesoflinkedterritorieswherevariouspartiescompete,negotiateandsometimescollaborateinclaimingthespacesfortheirownuse.InmyownworkIusefieldrecordingandsmallsonicinterventionstoexploreurbanspaces.Theresultsarethenoftenlayeredbackontothesespacesinvariousways.RecentlyIhavebeenresearchingtheacousticterritoriesofBrussels,usingconceptsandtechniquesfrombio-acousticstoexploreandinterveneintheurbansoundscape.Oneoftheseinterventionsisthedevelopmentofacousticfilters,smallportableobjectswhichaugmentandinterferewiththenormalpracticeoflistening.CurrentlyIamproducinganaudio-walkinDenHaagwhichtakesacriticalapproachtoalarge-scaleurbandevelopmentplan.Theconceptsofterritoriesandhowthebordersanddifferencesbetweenthemaremanifestedinsoundwillbekeytothedevelopmentofthiswork.InthislectureIwilllookatvariousstrategiesforworkingwithsoundinpublicspace,referringtomyownworkaswellasthatofothers.Thesestrategiesinclude:treatingfieldrecording/listeningasbothananalyticaltoolandasamusicalpractice,subvertingconventionallisteningpracticebytheuseofacousticfilters,andsuperimposinglayersofnarrative/interpretationontheurbanenvironmentinheadphone-basedaudio-walksandperformativetours.


RE:SOUND2019

AlexisBHAGAT(US)

TapesFoundintheWordship Track8

ABSTRACTInatwo-storycementblockfactorybuildinginRidgewood,NYsitsWordshipII,thehomeandstudiooftheartist-writerRichardKostelanetz.Inadditionto10,000plusbooks,3000plusrecords,thereareRichard'scollectionsof1000pluscassettetapes.Acriticandpublisherofavant-gardeart,Richard'sarchivecomprisesauniquelyimportantcollectionof20thcenturypoetry,text-sound,andsoundart.Thispresentationwillofferanannotateddiscographyofonesmallveinofthiscollection—soundartandexperimentalmusiccompilationspublishedoncassetteandCD,datingfrom1977through2006.PublishersincludeTheAerial,NewWildernessAudiographics,EMS,NewAdventuresinSoundArt,SlowScan,TellusandTurbulence.WhiletherearenichepublicationsoncassetteandCDthathavebeenpublishedsince2006,digitaldistributionforeclosedupontheviabilityofdistributionofcompilationsonphysicalmediabythemid-2000s.Thepresentationwillincludereflectionsfrompublishersaboutthetransitiontodigitaldistribution.YvonBONENFANT(IE) UniversityCollegeCork

ResonantTails,BlinkingVoices:FeelingtheIntersensoryVoice,AbilityandVirtuosity Track3

ABSTRACTWithreferenceto,andshowingdocumentationof,ResonantTails,avoice-responsive,inter-media,interactiveinstallationartworkforchildrenwithprofoundandmultiplelearningdisabilities;andtheoutdoorinstallationWeWink,WeWink,OurVoicesBlink;Bonenfantexplorestheaesthetics,socioculturaldynamics,anddistinctvirtuositiesofvoicingsbychildreninmarginalisedpositions,payingparticularattentiontohowrelationshipswithtechnicalmediationmightenhanceandcelebratethequeerdomoftheirvoice-art.Heassertsthatinaculturalcontextthatcelebratesnormativevocalitiesfromwithinitsmainstreamnarratives,thesevoicingsproblematiseourvocal-aestheticvaluesystemsinconstructivewaysandchallengeustoconsciouslyengagewithotherkindsofvocalsoundscapes.LarsBOTIN(DK)

AalborgUniversity

ListeningtotheWorld.Techno-sonicMediationsofReality Track9

ABSTRACTOursensesarewhatmostintimatelyrelateustotheworld.TheFrenchphilosopherofphenomenologyMauriceMerleau-PontywashighlyawareofthisashewrotehisseminalworkonthePhenomenologyofPerception(1946),andfurtheredinanessaythatwaspublishedafterhisdeathin1961“TheEyeandtheMind”.Merleau-Pontydidnothavespecificfocusontheearandhowsoundasastimuluscanarousesensationsofprofoundintensity,andcreatenew‘tableaus’ofmeaningandunderstanding.Nevertheless,theoverallconceptualizationsandproblematizationsthathemakesinrelationtohowwereallyare-in-the-world,canhelpformthefoundationsforatheoreticalandconceptualframeworkforsound.TheAmericanphilosopheroftechnologyDonIhdehastriedtoelaborateontheimportanceofsoundasawaytocopewith,navigatein,andunderstandtheworld.InListeningandVoice.PhenomenologyofSound.(2007)heintroducestowhathecoinsas“AuditoryImagination”andinthispaper,shalltrytobridgeMerleau-Ponty’sideasonbodily‘skhema’andthe‘auditoryimagination’.Bodily‘skhema’isapre-noeticandaxiomaticcompetenceofthebody,whichmeansthatweashumansarebornwithaesthetic,ethicandmysticcapacitiesforunderstandingourbeing-in-the-world.Thisbeing-in-the-worldthroughandwithourbodiesandsenses,hasthroughhumanitybeensupportedandenhancedbytechnology,whereadecisivefocushasbeenplacedontheeyeandvision.Assuchthereisalack,boththeoretically,conceptuallyandtechnologically,ontheothersensesthatintimatelyrelateustoworld,andIhde’selucidationsonthe‘polyphonyofexperiences’andthe‘auditoryimagination’areanattempttoopenupfornewwaysbeing/becomingintheworldthroughacousticdevices.Thispaperfocusesonhowacousticdevicescanmediatenewunderstandingsofourbeing-in-the-world,andhowartcould/shouldpartakeintechnologicalinnovationanddevelopmentonthatbehalf.


RE:SOUND2019

KarineBOUCHARD(CA) UniversitéduQuébecàTrois-Rivières

CuratingElectronicMusic.TheArtGalleryasSoundRecordingStudio Track5

ABSTRACTSincethelasttwodecades,theintroductionofsoundintotheartgalleryhaschallengedtheacousticsofexhibitionspacesinawaythatcuratorshavetoadaptthediscursivestrategiesbytakingfromentertainmentindustries,suchasmusicindustryandtechnologiesofsoundrecordingformusicproduction.Thus,thispaperwillshowhowcuratorialpracticesexploittheartgalleryasasoundrecordingstudioandasaplaceformusiccreationtorenewconceptualandscenographicmodelsaswellasexhibitionexperiences.Iwillthereforeexaminehowthisnewmodeldevelopsspecificvisitors'listeningpracticesinthegallery.TheSonicProcessexhibition(CentrePompidou,Paris,2002)actsasoneofthefirstmajorexhibitionstoblurthelinesbetweenartgalleryandsoundrecordingstudio,productionanddisplayspaces,musiciansandvisitors.Withafocusonsomespecificartworks,suchasGridiofromtheColdcutelectronicmusicgroupand][SYS*II.MiE>AbE/SoS\][SYS*10.MeE/SoS\BoS][][frommultimediaartistMathieuBriand,amongstothers,Iwillanalyzehowtheexhibitionengageswithanarchitecturalreshapingthatleadstoallowmixing,remixingandDJingaswaysforthevisitortorecreatehisownmusicmix.Inabroadersense,thispaperwillraisequestionsthatconcernthearticulationbetweenthemusicindustryandtheartgallery,listeningpracticesofmusicrecordingandlisteningpracticesofsoundsintheexhibition.StefanieBRÄUER(CH) UniversityofBasel

DrawingandScanningWaveforms:OpticalSynthesisofToneColorinthe1950sand60s Track1

ABSTRACTThispresentationwillengageinamediaarchaeologyofopticaltonecolorsynthesisasaspecificcasefortheconvergenceofelectronicsoundandimage.Tonecolor,ortimbre,hasbeenofinterestwithinacousticsresearchsince1860whenHermannvonHelmholtzsuggestedmusicaltimbreasasubjectofexperimentationandformalization.Thisleftamark,asitexpandedwhatcouldbeconceivedasamusicalcompositionintheearly20thcentury(e.g.Schoenberg’stonecolormelodies).Bythe1950sand1960s,OsmondKendall(CA),MaxBrand(US),andDaphneOram(GB)integratedtimbrescanningunitsintheirsynthesizers.Thisunitoperatedoptically,asitcombinedanelectronicoscilloscopewithadrawnwaveshapetemplateandaphotomultiplierinordertodefineasound’ssustainbyscanningthetemplate.Theproposedpresentationconsidersopticaltonecolorsynthesis,specificallythe1950sand1960stimbrescanningunit,asaresultofcouplingtwoideas:timbrecanbeisolatedandelectronicallyproduced,whilewaveformscanbevisuallymanipulated.Thisopticalprocesslostrelevancebythelate1960s,howevercamebackintofullswing,consideringdigitalwavetablesynthesis,aidedbygraphicaluserinterfaces.AndreasBROECKMANN(DE) HGBLeipzig;LeuphanaUniversityofLüneburg

SoundingImmaterial.SoundandListeningintheExhibition“LesImmatériaux”(Paris,1985) Track9

ABSTRACTTheexhibition"LesImmatériaux"tookplaceattheCentrePompidouinParisin1985andhassincebecomeoneoftheprimeexamplesfortheconjunctionofartisticandscientificdiscoursesinthe20thcentury.CuratedbythephilosopherJean-FrancoisLyotardandthedesigntheoreticianThierryChaput,theshowcontainedmultipleexhibitsthatreflectedonthedematerialisationofthehumanbody,ofcommunicationandmemory,inducedbywhatLyotardreferedtoasthe"techno-sciences".Soundwasimportantfor"LesImmatériaux"bothasatheme,andasascenographictool.Amongitssixtysites,severalexhibitsdealtwiththecodingandnotationofmusic(sitetouslesbruits),withspectrographicvisualisation(tracedevoix),withtheinteractivenavigationofsoundinspace(musicienmalgrélui),andwiththefantasiesofcorporealtransformationinmusicvideoclipsofthemid-1980s(corpschanté).Crucially,theexperienceofthevisitorswasinfluencedbyasoundscape,intimatelyconveyedthroughouttheexhibitionbydirecttransmissiontoheadphonesthatthevisitorswereaskedtowear.Bothcuratorshadaspecialinvestmentinthis“bandesonore",Chaputforthetechnicalsystem


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speciallydevelopedforthisoccasionbyPhilips,andLyotardfortheliteraryandphilosophicaltextsthatcouldbeheardthroughthismobileheadphonesystem.Finally,aconcertseries,titledsonsetvoix,contributedbytheIRCAMsoundresearchinstitute,accompaniedtheexhibition.Whilethegeneralcontoursofthissonicprogrammeof"LesImmatériaux"havebeenknownforawhile,recentresearchintothepreparationsandtheproductionoftheexhibition,aswellasnewdiscoveriesofarchivalmaterials,makeitpossibletogiveamuchmorecompleteideaoftheconceptionofsoundasmaterialandimmaterial,thatwasproposedbyLyotard,Chaputandtheircollaboratorsinthisepochalproject.AlejandraBRONFMAN(US) UniversityatAlbany,StateUniversityofNewYork

ToxicSounds:Vieques,Bombs,Bodies Track6

ABSTRACTBetween1941and2003theUSNavyusedlargeportionsoftheislandofVieques(partofPuertoRico),asanavaltrainingsite,engaginginlivetrainingexercisesthatincludedgunfire,bombing,andmockbattles.Theseactivitiestransformedthelandscapeandsoundscapeinwaysthatarenotyetwellunderstood.ConsideringViequesthroughsoundmeansplungingintodebatesaboutwhatisandisnottrue.Doesnoisehurt?Dovibrationsfromyearsofbombingexercisesmakepeoplesick?Dothefrequent,unpredictablesoundsofmilitaryexercisesmakechildrenanxiousanddepressed?Doesitcontributetolowbirthweightandinfantmortality?Doesachangedsoundscapeaffectmarineandlittoralwildlife?Thesearetheclaims,madebysomeanddisputedbyothers.Measuringnoiseandsoundiseasy,gaugingtheirimpactonhumanandnon-humanbodiesisbothobviousandelusive.Thispaperdrawsfromliteraturesensoryharmandthepoliticsofnoiseaswellasfromagrowingliteratureontheenvironmentalimpactofweaponstesting.Itcontributestotheseconversationsamethodologicalmeditationonhowtounderstandandtheorizesonictoxicity.JessicaBROSCHEIT(DE) SusanneDRAHEIM(DE) KaiVONLUCK(DE)HamburgUniversityofAppliedSciences

HamburgUniversityofAppliedSciences

HamburgUniversityofAppliedSciences

ASonificationofHuman-environmentInterrelationships Track6

ABSTRACTAmediaartinstallationtoexplorehuman-environmentinterrelationships.Itsaimasartisticresearchistoprovideanemotionalaccesstoatmosphericdatautilizingsonificationandmetaphoricalrepresentation.Intheearlyphaseofcoalandsteelindustries,minerswereconfrontedwiththedangersofhazardousgasmixturesinshafts,causedbyundergroundfiresorexplosions[1]–[3].Theminerscouldnotsensetheodorlessgasesandwouldpassoutwithoutwarning.Fortheirprotection,canarieswereutilizedasanenvironmentalwarningsystem,todetectgaseslikecarbonmonoxide[2]–[7].Forthat,thecanariesweretrainedtosingunderground[6].Iftheairreachedhighconcentrationsofcarbonmonoxide,thecanarieswoulddropfromtheirperches.Thecollapseofthesesensitiveorganismsprovidedtheminerswiththenecessarytimetoinitiatesecurityprocedures[2],[5].Nowadays,thesebirdsnolongeractasindicatorsforcarbonmonoxideinundergroundenvironments.Insteadofcanaries,varioussensortechnologiesexisttomonitortheenvironmentubiquitously.Thistechnologynotonlygathersdataaboutenvironment,butalsoabouthumanactivities.Hence,itrecognizesbothchangeofairqualityandtheimpactofhumanactivities.Duetoitsconstantlychangingnatureairformsaninvisiblematrixofvariousatmosphereswithdifferingairqualitiesforhumanrespiration[7].Buthowwouldthisinvisibleanddynamicinterrelationshipbetweenhumanactivityandenvironmentsoundlike?Inaworldofanthropogenicissues,thisart-basedresearchexploresthehiddensoundofhuman-environmentinterrelationshipsasamediainstallation.Inspiredbythecanarymetaphor,atangibleinterfacewasdesignedtocreatea‘human-environmentdataassemblage’[8].Technically,thetangibleinterfaceextendsthephysicalworldwithdigitalinformationthroughmicrocontrollers,sensorsandactuators[9],[10].Inthiscase,themicrocontrollertransformsthesensordataintosoundtodetectbothatmosphericchangesandhumanactivities[11].[1]C.H.Fritzsche,„Grubenbewetterung“,inLehrbuchderBergbaukunde:mitbesondererBerücksichtigungdesSteinkohlenbergbaues,C.H.Fritzsche,Hrsg.Berlin,Heidelberg:SpringerBerlinHeidelberg,1938,S.482–649.[2]T.D.Spencer,„EffectsofCarbonMonoxideonManandCanaries“,Ann.Occup.Hyg.,Bd.5,Nr.4,S.231–240,Jan.1962.


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[3]J.S.Reif,„AnimalSentinelsforEnvironmentalandPublicHealth“,PublicHealthRep.,Bd.126,Nr.1_suppl,S.50–57,Mai2011.[4]G.A.BurrellundF.M.Seibert,„ExperimentswithSmallAnimalsandCarbonMonoxide“,J.Ind.Eng.Chem.,Bd.6,Nr.3,S.241–244,März1914.[5]J.S.Haldane,Respiration.NewHaven,YaleUniversityPress,1922.[6]J.Klähn,BemerkungenüberdenKanarienvogel,Bd.1.Auflage.SanktAndreasberg:HarzerRoller-Kanarien-Museum,2006.[7]D.Suzuki,A.McConnell,undA.Mason,TheSacredBalance:RediscoveringOurPlaceinNature,Updated.VancouverB.C.:GreystoneBooks,2007.[8]D.Lupton,„Feelingyourdata:Touchandmakingsenseofpersonaldigitaldata“,NewMediaSoc.,Bd.19,Nr.10,S.1599–1614,Okt.2017.[9]H.Ishii,D.Lakatos,L.Bonanni,undJ.-B.Labrune,„RadicalAtoms:BeyondTangibleBits,TowardTransformableMaterials“,interactions,Bd.19,Nr.1,S.38–51,Jan.2012.[10]H.Ishii,„TangibleBits:BeyondPixels“,inProceedingsofthe2NdInternationalConferenceonTangibleandEmbeddedInteraction,NewYork,NY,USA,2008,S.xv–xxv.[11]K.V.Nesbitt,„ModellingHumanPerceptiontoLeveragetheReuseofConceptsAcrosstheMulti-sensoryDesignSpace“,inProceedingsofthe3rdAsia-PacificConferenceonConceptualModelling-Volume53,Darlinghurst,Australia,Australia,2006,S.65–74.ChristopherBROWN(UK) AndrewKNIGHT-HILL(UK)UniversityofSussex UniversityofGreenwich

Coccolith Track4

ABSTRACTWeproposetoscreenaworkofaudiovisualpractice-as-research,ourshortfictionfilm'Coccolith'(17mins),whichwasshotinthesubterraneanworldoftheRamsgateTunnelsinKent,UK.Departingfromtypicalstorytellingconventions,thefilmdepictsanimaginaryrealminwhichdevisedperformancesandexperimentalsounddesignevoketheuniquehistoriesandfeelofthiseerieenvironment,seekingtochallengesimplisticassociationsofthetunnelswithwartimenostalgiaandmythology.ThefilmisacollaborationbetweenBrown(director&producer)andKnight-Hill(sounddesigner&composer)investigatinghowaudiovisualpracticesmightrepresenttheexperienceofdisusedorruinedstructures.Inseekingtoreflectthefragmentednatureofknowledgeaffordedbythetunnelsintheirdilapidatedstate,wesoughttoexperimentwithnewmethodologies,reconfiguringtherelationshipbetweenfilmandsoundpracticeinordertoarticulateanalternativerepresentationofthetunnels’history,heritageandtemporality.Drawingfromconceptsassociatedwithelectroacousticmusic(suchasthedynamicsoftextureandgesture),wesoughttoreconceptualizeboththeroleofthesoundtrackinrelationtoafilm’sdiegesis,andtheroleofthedirectorinrelationtosounddesign.Wefelttheneedforalternativepracticeofthistypewasparticularlyacute,giventhattheRamsgatetunnelsotherwiseriskpermanentaffiliationwithnationalistsentiment–especiallypronouncedintheeraofBrexit.Yetourpoliticalimpulsetocounter-mythologizeoftensatintensionwithourobjectivetodevelopaudiovisualpracticesrootedintheaffordancesofthetunnels.AndrésBURBANO(CO) UniversidaddelosAndes

TheScienceoftheVoiceofNature Track9

ABSTRACTThispaperisanextensiveanalysisonthedocument"Zoophony:ThesisonthePossibilityofDescribingtheSoundsandArticulationsoftheVoiceofAnimals,"writtenin1829bytheFrenchmanHerculeFlorencewhilehewaspartofaEuropeanscientificexpeditionintotheBrazilianAmazon.Thethesisisofeminentimportancetodayforthediscoursesofmediahistory,andhistoryofsciencesinceitanticipatesthestudyofbiologyinthe20thand21stcenturies.TheZoophony,anearlyversionofbioacoustics,isasciencethatisproposedfromthenewworldinthecontextofthecolonialcontextofscientificexpeditionsofthenineteenthcentury,oneofthemostremarkableaspectsofthefieldisitsmethodologythatincludestranscriptionsbirdssongstomusicalnotation,evenstretchingthenotationcapabilitiesinordertorepresentthecomplexityofthesoundproper.ThemultipleactivitiesofFlorence,asaninventorofprintingdevices,asavisualartist,andalsoasaproponentofscientificfieldsshowthattheinteractionsbetweenthesciences,thearts,andthetechnologiesarepresenta


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longtimeagoindifferentstagesofcultureandarenotafeatureofthepresenttimes.Thepaperproposesareflectiononheritageandaskshowtoreactivatethisheritagethroughcontemporaryacademicstudyandsoundpractice,includingdesigningsoundebasedonwhattheZoophonyproposes.Likewise,itexploreshowthisprojectcanserveasinspirationforaconcreteprocessofdesigningsonicexperimentsthatapproximatesthesonificationofdataandinformation.ThepaperisbasedonthetranslationfromFrenchandPortugueseintoSpanishandEnglishoftheoriginaldocumentZoophony,anditshouldbenoted,isthefirsttimethatthistextistranslatedintoSpanishandEnglish.xtineBURROUGH(US) FrankDUFOUR(US) DavidADELMAN(US)LabSynthE,UniversityofTexasatDallas

LabSynthE,UniversityofTexasatDallas

UniversityofTexasatDallas

ListeningtoandthroughSilence Track7

ABSTRACTAbreathisthefirstcalibrationoflifeandexpression.Asacollection,breathingpresentspatternsandsilencesfromthemomentwearebornuntilthemomentofourlastbreaths.Itisaunitofactivityandresting.LabSynthEconsidersthebreathasauniversalperformativeunitthathasthepotentialtoemancipatesilence.Throughintenseandcontemplativelistening,likePaulineOliveros’researchandpracticeofdeeplistening,attentiontothebreathorganizesthebodyintoaframeworkforsympatheticconsciousnesswiththeother.Deeplisteningincludes“thesoundsofdailylife,ofnature,ofone’sownthoughtsaswellasmusicalsounds.”Oliveroswrites,“Deeplisteningismylifepractice”(LovelyMusic).Oliverossuggeststhatthiskindofattentiontolisteningisimportanttohumanity.LabSynthEsuggestslisteningtothebreathencouragesattentiontosilence.Listeningthroughnoisetohearsilencesisatonceenergizing,by“activat[ing]theauditorycortex,”andcalmingtothenervoussystem(Voisin,J.,Bidet-Caulet,A.,Bertrand,O.,Fonlupt,P.).Moreover,thisattentiontolisteningthroughsilencehaspoliticalramifications:wherelisteningtothevoiceoftheotherisanormativedialogicalframework,LabSynthEproposesthetranscendentalactivityoflisteningtoeachother’ssilencesinordertounderstandandvaluetheireverpresentcorporealmotivationsandmanifestations.Silencemakeslisteningapossibilityinpoliticaldiscoursewherelisteningcanbereinstalledasacriticalandpoliticalactivity.ThispaperdiscussesthetheoreticalandpoliticalframeworkforLabSynthE’screativeprojectandworkshop,OneBreathPoem.Weproposeanactivitythatencouragesdecenteringtheegooftheindividualtoexpandtheframeofreferencewithanaffectiverelationtootherlives.Bybringingattentiontothebreathandafocusonsilentpauses,wesuggestculturaltransformationispossible.Oliveros,Pauline.LinernotesfromCroneMusic(LovelyMusic,Ltd.CD1903,1990,compactdisc).“AlbumNotes:CroneMusic,”accessedMarch24,2011,http://www.lovely.com/albumnotes/notes1903.htmlVoisin,J.,Bidet-Caulet,A.,Bertrand,O.,Fonlupt,P.“Listeninginsilenceactivatesauditoryareas:Afunctionalmagneticresonanceimagingstudy.”JournalofNeuroscience.Volume26,Issue1,4January2006,pp.273-278.JoeCANTRELL(US) UniversityofCalifornia,SanDiego

TheHumanObject:NewMaterialistModelstoResistObsolescenceinTechnologicalSoundPractices Track4

ABSTRACTIntheirchoiceofthetoolsoftheircraft,electronicmusicianshaveaclose,workingrelationshipwithaspecificformofmass-producedcommodity:technologicalaudiodevices.Likeothermanufacturedgoods,theyoriginatefromaglobalproductionsystemthatishistoricallyexploitative,environmentallyunsustainable,andbeholdentotheexpectationsofcontinuoustechnologicalimprovementandobsolescence.Electronicmusiciansmustconsistentlyadapttoandpurchasenewsoftwareandhardwaretoavoidlosingcriticalfunctionalityandcompatibility.Theirparticipationinthisprocessposesthornyquestionsregardingtheethicaldefensibilityofindividualself-expressiveactsrelativetothenetnegativeeffectsofcontributingtotechnologicalproductionmethodsthatpromotesufferingandglobaldestruction.Tocounterthesecontinuingtendencies,Iofferareadingofnewmaterialisttheorywithaneyetowardhowitmaybespecificallyappliedtoelectronicanddigitalmusicians.Newmaterialismprojectsaperceptionoftheworldinwhichthedifferentiationbetweenhumans,non-humans,andobjectsiscalledintoquestion.Thisdissolutionofboundariesisfurtherextendedtobroaderglobalsystemsofculture,capitalandpolity,connectingtheverysmalltotheverylarge.Inthisway,


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theethicalconsequencesoflargersystemsofinfluencebecomeintrinsictophysicalobjects.Appliedtotechnologicalaudiodevices,porousboundariesallowavisionofaudiotechnologythatisinclusiveofallthebodieswithwhichithascomeincontact,urgingalimitedsenseofanthropomorphicidentificationwithitsusers.Bylocatingmusictechnologywithinalargerpersonalcontinuumofbodies,objects,andcapital,ameansofrethinkingtherelationshipbetweenelectronicperformersandtheirmaterialtoolscanbeenacted.Indoingso,devicesthatwereoncesubjecttothewhimsofconstantdevelopment,becomeimbuedwithapersonalsenseofvitality,makingthemmoredifficulttobeperceivedasdisposableandobsolete.MiguelCARVALHAIS(PT) RosemaryLEE(DK)INESCTEC;UniversityofPorto ITUniversityofCopenhagen

SoundwalkingandAlgorithmicListening Track4

ABSTRACTSoundwalking(SW)isalisteningandcompositionmethodthatfocusesontheexplorationoftheenvironment.Thispracticeiswellestablished,withalargerepertoireofworksandaterminologythathasstemmedfromitspioneersasSchaferandWesterkamptocontemporarysoundartists.ArtisticpracticesthatsprungofSWengagebothwiththeunmediatedsoundscapeaswithmultipleapproachestotheaugmentationofhumansensorialapparatus.Mechanic,electric,orelectronictechnologiescanbeusedtoamplifysoundortosonifyinformationandallowtheperceptionofphenomenathatareotherwiseimpossibletodirectlysense,ase.g.electromagneticfields,levelsofcarbonmonoxideorultravioletradiation,etc.Insuchcaseswemaypositthatthedevicesused,byallowingaccesstonewlayersofreality,effectivelyaugmentit.Theelectronicandcomputationalsystemsusedinthesepracticesareofparticularinteresttothispaper.Giventheincreasingrelevanceofcomputersinphysicalandpublicspaces,theomnipresenceofthemetainterface,andhowhybridspacesemergefromphysicalandvirtualspaces,onemayalsoconsider:howanexplorationofthesespacesmaybedevelopedalongtheprinciplesofSW;howfundamentalideasinSW—e.g.keynote,soundmark,soundsignal,etc.—gainanewrelevanceinthesenewenvironments;andwiththemonemaydevelopalgorithmiclistening,aformoflisteningthatemphasisescomputationandprocedurality.Just-in-timecompositionmaybedevelopedincomputationalspaces,notonlyinsystemssuchasgamesbutperhapsinanyergodicsystem,givenhowtheyfunctionasinterfacesthathavetobeexploredastopologicalspaces.Whiletraversingthem,onediscovershorizonsofactionandformshorizonsofintentwithintheirphase-spaces.Thisprocessisoftenfundamentallyvisual,butsound(eitherbyitselforinthecontextofaudiovisualforms)isanincreasinglyimportantcomponentoftheseexperiences(andinsomecases,theirmaindriver,asinvoice-drivenandothersonicinterfaces).Ascomputationalprocessesarealwaysreal-timeevents,happeninginaparticularspace-time,theyareveryconcreteoccurrencestoanyuser.Theyhappenhereandnow,tothisoneperson.Furthermore,wemaypositthatininteractivesystemsthehumanbecomesanintegralpartofthecomputation,thereforetheirtopologybecomespartofthetopologyofthesystem(andviceversa).Computationalspacesthereforebecomepartiallyembodied,withtheirspaceenmeshingwiththatofthehuman,resultinginanergodicsuperpositionofvirtualandactual.ThispaperintendstoexplorehowprinciplesofSWmaybeappliedtothecreationandexplorationoftheseergodicsystems,aspoeticandaestheticresourcesinenvironmentsthatarespatialandincreasinglysonic.ReferencesAarseth,EspenJ.Cybertext:PerspectivesonErgodicLiterature.Baltimore,MD:TheJohnsHopkinsUniversityPress,1997.Andersen,ChristianUlrik,andSørenBroPold.TheMetainterface:TheArtofPlatforms,Cities,andClouds.Cambridge,MA:TheMITPress,2018.Fuller,Matthew.MediaEcologies:MaterialistEnergiesinArtandTechnoculture.Cambridge,MA:TheMITPress,2005.Morton,Timothy.Hyperobjects:PhilosophyandEcologyaftertheEndoftheWorld.Minneapolis,MN:UniversityofMinnesotaPress,2013.Murray,JanetH.HamletontheHolodeck:TheFutureofNarrativeinCyberspace.Cambridge,MA:TheMITPress,1997.Schafer,R.Murray.TheTuningoftheWorld.Toronto:McClellandandStewart,1977.Steyerl,Hito.DutyFreeArt:ArtintheAgeofPlanetaryCivilWar.London:VersoBooks,2017.Upton,Brian.TheAestheticofPlay.Cambridge,MA:TheMITPress,2015.


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DoloresInésCASILLAS(US) JenniferSTOEVER(US)UniversityofCalifornia,SantaBarbara BinghamtonUniversity

TheCourtroomandtheSonicColorLine:ListeningtotheVocalBodyinTelevisedCriminalTrials Track3

ABSTRACTThispaperfocusesonthepoliticalsignificanceoflinkingsoundandlisteningwiththoseofraceandsocialjusticewithintheUSmedia’sfascinationwithtelevisedcourtroomtrials.The2012and2013mediacoverageoftheTrayvonMartintrialgeneratednationaldebatesabouttheracialized,violentexperiencesinherentinbeingBlackintheUnitedStates.ThemurdertrialofteenagerTrayvonMartininSanford,Floridabyaself-appointedneighborhoodwatchman,GeorgeZimmermanfocusedonblacknesswithinavisualframeyetnumeroussonic,vocalcueswerekeytoconstructingblacknessasanauralconcept.JenniferStoever(2016)historicizesthesonic,socialconstructionofraceasthesoniccolor-line,aframeworkthathelpsexplainhowideologiesofracehelpusnotonly“makesense”ofwhatwearelisteningtobutuncoversthetroubling,racializedassumptionslearnedfromlistening.Indirectingmoreattentiontowardssonicfacetsofrace,scholarsofRaceandMediaareabletocomplicatevisualunderstandingsofracewithaudiblerepresentationsofvocalbodies—meaningthevoice’stexturedindicationsofracesuchasone’scadence,pitch,andvolumecoupledwithone’swordchoice,slang,andregionalaccents(Casillas,Ferrada,andHinojos,2018).Thispaperarguesthatbylisteningtothelivetelevised-courtproceedingsandpost-trialmusingsonnetworknewsshows—broadcastonmajortelevisionandcourt-entertainmentnetworks—wecanunderstandhowracializedassumptionsaboutthespeechofwitnessesandthevictim,TrayvonMartin,impactedthejury’snon-guiltyverdict,aswellashowthetreatmentofprosecutionwitnessRachelJeantelwasresoundinglyheardasanexampleoflinguisticprofiling,theauditoryequivalentofracialprofiling.AuditoryprofilingofRachelJeantelwaskeytonotjustthejury’snon-guiltyverdictbuttoinfluencingpublicopinion.JoséCláudioS.CASTANHEIRA(BR) FederalUniversityofSantaCatarina

ShiftingSonorities:TechnologyandPerspectivesonTimbre Track4

ABSTRACTThematerialconditioningfactorsimposedhistoricallyontheproductionoftimbre(withintheconstructionofacousticinstruments,forexample)graduallygavewaytoanothertypeofsoundproductionthatdependedlessonthecontrolofthebodiesofinstrumentsandofinstrumentalists,butontherigidcontrolofthephysicalparametersofsounds.Withelectronicsynthesis,anabstractmodel(thesinewave)istakenasabasicunitinthereconstructionofanypossiblesoundwithricherspectralfeatures.Thisleadsustosomephenomenologicalquestions,where,evenproposingrigidparametersforthecreationofmorecomplextimbres,theexperienceoflisteningisnotthesamefordifferentpeopleatdifferenttimes.Inadditiontothephysiologicalfactorsinvolvedinlistening,aseriesoftechnicalinterferencesinbothproductionandreproductionofsoundsisresponsibleforthemultiplicityofperceivedacousticinformation.Thistechnologicalenvironmentpresupposesandstimulatesthedevelopmentofdifferentcognitivemodelsinvolvedintheprocessesof,consciouslyornot,attributingmeaningtodifferentsonicecologies.Sincethedigitizationofsoundsandtheincreasingcapacityofdataprocessingandstorage,theparametersofsoundproductionhavebecomemoreobjective(atleastwithintechnicaldiscourse),meticulouslyobservingthephysicalconstitutionofsound–refiningtherecordingofovertonesandothercharacteristics–ratherthantherelationofthesesoundstotheenvironmentandtothebodiesthatsurroundthem.ForNancy(2002),theresonancebetweendifferentbodiesiswhatcreatessensesincommon,significantreferencesresponsibleforthecodificationanddecodificationofsounds.FollowingEvens(2005),thisproposalunderstandsthesetofimplicatedsoundsinacontinuousprocessofentropywithinacertainenvironmentasresponsiblefortheemergenceofexplicatedsounds–theonesthatstandoutandwhichcanbeconsciouslyperceivedinreverberantspaces.


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PaolaCASTAÑO(UK) CardiffUniversity

“CogitoinSpace”:Art,NeuroscienceandRadioAstronomy Track4

ABSTRACT<<CogitoinSpace>>isaninterdisciplinaryartproject,ledbyartistDanieladePaulisandinvolvingradioastronomersandneuroscientists,thatsends“thoughts”toouterspace.Oneofthebasicideasoftheproject,inthewordsoftheartist,isthatspaceexplorationisnotonlyanexplorationofthe“outerunknown,”butitisabout“exploringourselvesinthisbiggerdimensionthatisalsopartofourselves.”Withthispremise,thecollaborationusesbrainwavescollectedbyneuroscientistsinanencephalogram(ECG)scanwhilethepersonbeingscannedwatchesimagesoftheUniverseandofEarthfromspacewithaVirtualRealityheadset.Thisdataisconvertedintosound,andthentransmittedtoatargetedlocationintheskyusingtheDwingelooradiotelescopeinTheNetherlands.Thispaperexaminesthephilosophicalinfluencesthatshapedtheproject,itsmethodologicalandtechnicaldesign,andoneofitsperformances.Iarguethattheparticularuseoftechnologiesthatrarelyinteractwitheachotherin<<CogitoinSpace>>constitutesanewmodalityresearchpractice,andthequestionsposedbytheperformancecreateameaningfulepistemologicalinterventioninthethreefieldsthatintersect:art,radioastronomyandneuroscience.Thepaperisbasedonparticipantobservationduringacademicpresentationsfrommembersoftheproject,aperformanceoftheprojectattheDwingelooradiotelescopeinNovemberof2018,documentaryanalysis,andinterviewswiththeartistandmembersofthecollaboration.AnnabelCASTRO(MX) DXARTS,UniversityofWashington

EvokingDiscriminationthroughDeepLearningTechniques.VoiceintheInstallationOutsidein:ExileatHome Track3

ABSTRACTOutsidein:exileathomeistheresultofdismemberingfourdistinctfilms,uprootingtheirelementswithintheprojectionroomandhavingthemsharetheirsamecloisteredspace.Itevokestheconditionofbeingrobbedofyourrighttobeintheplaceyoubelongto.DuringWWIIMexicansofJapaneseancestrywereremovedfromtheirresidence,deprivedoftheirbelongingsandplacedinseclusioncampsandareas.Theartworkseeksacontemporaryreflectiononthisunrepairedaction.Theinstallationisconstitutedbytwovideoprojectionsarrangedperpendicularlyinaroomwitharowofheadphonesonawall.Oneprojectionpresentstheoutskirtsofthefourdistinctfilms,theotherdisplaystheirsubtitles.Theheadphonesplaymaterialextractedfromthefilms'soundtrack.Theelementsofeachmoviearenolongersynchronized;eachleadsaseparatelifeincompanyofdismemberedelementsoftheotherfilms.Theinstallationcanbedividedinthreeparts:image,subtitlesandsound.Eachpartiseditedinrealtimebyitsownalgorithmicdiscriminationprocess.Theseprocessesincludetheuseofdeeplearningtechniquestoselectandensemblefragmentsfromthesourcefilms.InthispaperIexplaintheuseofvoiceanddeeplearningtechniquesinOutsidein:exileathome.Ianalyzetheroleofvoiceasaguideintheautomatizationofdiscriminatorydecisionsthateditthesourcefilms’materialinrealtime.AndatlastIdiscusstherelationbetweenvoice,territoryandidentityinthisartwork.DavidCECCHETTO(CA) YorkUniversity

ListeningtoIncommunicationsintheAfterlifeofData Track7

ABSTRACTToday,theprivilegedformofincommunicationmaywellbethatofcomputationaldata,whichcontinuestocirculateitsfeverdreamsofuniversalexchange—itshallucinationsofinformationthatwouldremainthesameasitmovesbetweencontexts—longafteranyonereallybelievedinitscommunicativealibi.Andyetthealibipersists,suggestingthatonemightlistentoitssirensongsofsmoothcomputationalspacenotsomuchinordertoshow(yetagain)theimpossibilityofcommunication,butrathertohearwhatisdisclosedinandprocuredbythespecificsofthealibiitself.Thatis,iftheimpossibilityofcommunicationisatropethatvariouslyappearsindiversehistoricalandculturalsettings,itisalsoonewho’sspecifictextureshaveperhapsnotalwaysbeenlistenedtoasattentivelyastheymight:incommunicationshavetheirmoments,contexts,trajectories,andpromiscuitiesjustasmuchastheir(neveractuallyexisting)positivecounterparts,andthe


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densities,roughnesses,speeds,andbuoyanciesoftheseareasaudibleasanythingelse.Howmightwelistentocomputersintheirincommunicativeprofiles?Inthistalk,then,Ilistentoseveralspecificinstancesofsuchcomputationalincommunications,attendingespeciallytotheweirdrelationalitiesthatobtainintheiraestheticdimensions.Ifmygoalsindoingsoareinmanysensestheoretical,mymethodsareemphaticallypragmatic:Iwillsharethewaysthatspecificlisteningengagements—e.g.listeningvariouslywitha1,000ftwidehead,withmuddyears,andwithaninvertedstereofield—temporalizeinformationinwaysthatcannoteasilybedescribedinpredominantnetworkmodelsbutthatcanbeheard,afactthatinturnwillopenquestionsaboutthemorphologies,biologies,andtemporalitiesofknowledgeinrelationtoinformation.DanielCERMAK-SASSENRATH(DK) StinaHASSEJØRGENSEN(DK)ITUniversityofCopenhagen ITUniversityofCopenhagen

Re-VolutionSampler—AParticipatoryArchiveforAudienceEngagement Track4

ABSTRACTThisstudytakesasastartingpointforacriticalexplorationthechallengeofhowsonicarchival(e.g.museal)materialcanbedisseminatedinengagingways.ItproposestheRe-VolutionSamplerinstallation,anopen,participatory,multi-layeredassemblageofsonictexts.Theinstallationintegratesplaybackandrecordingofpoliticalprotestsongs.Visitorsarenotonlyinvitedtolistenandreceivebutalsotoadd,extentandcomment.Forinstance,theycanlistentoasongandsingalong,playaninstrument,applaud,cheeroraddverbalcomments;theycanalsostartnewrecordings.Theinstallationreflectsthepopularmotifinthepost-structuralistdiscoursethatcultureiswhatpeopledo,notonlywhattheyaregiven–readersandtextsmakeeachother.Theinstallationisinspiredbyartisticparticipatoryworks,forinstance,byAlvinLucier'sIamSittinginaRoom(1969),SvenLindqvist'sDigWhereYouStand(1978),andYuriSuzuki’sJukeBox(2013).Themotivationtoselectrevolutionarysongsforthisinstallationarethemomentsofappropriation,interventionandsubversiontheyafford.Protestsongsaremadebottom-up,unsolicited,byeverydaypeople;thus,theinstallation’sconceptisreflectedinitscontent.Weplantoconductanevaluationwithregardstotheaestheticsofparticipationandengagementofparticipants(Fritschetal.2016)inanopenandexplorativeprocess.Theinstallationissetupinasemi-publicspaceforseveralweeks.Audiencereactionsarecollectedandexperiencesestablishedthroughqualitativeandquantitativemethods.WeexpectthattheRe-VolutionSamplerbecomesalively,meaningful,diverseandongoingcollectionofthemultiplepersonalandcollectiveexperiencesofrevolution,peoplehaveandshareacrosscountries,culturesandcauses.Audiencecontributionsmaywellincludetrivialcontent,mainstreampositionsanddestructivebehaviour.BudhadityaCHATTOPADHYAY(LB)* AmericanUniversityofBeirut

Post-immersion:TowardsaDiscursiveSituationinSoundandMediaArt Track1

*SpeakersponsoredbytheNordicCouncilofMinistersandtheNordicCultureFundABSTRACTImmersionisamuch-lovedwordinthedomainofmediaart.Itisthroughimmersionthattheaudiencesareoftenmadetoengagewiththemediaartworks,especiallythoseinvolvingmulti-channelsound,andspatialpractices.Inthesesound-works,immersionoperatesasacontextforrealizingtheproductionofpresenceasanillusionofnon-mediation(Reiter,Grimshawetal).Themainconcernofthisproposedpaperandthecorrespondingexhibitioniswhethertheaudiencetendstobecomeapassiveandnon-actingguestwithintheimmersivespaceoftenconstructedbyanauthoritarianandtechnocraticconsumer-corporateculture.Iwillargueinthepaperthatinthismodeofnon-activitytheaudiencemaylosethemotivationtoquestionthecontentandcontextoftheworkbyfallingintoasensualandindulgentmodeofexperience,thereforerenderingtheconsumerist-corporatepowerstotakeoverthefreewilloftheaudience(Lukasetal).Fromthepositionofasound/mediaartistmyself,inthispaper,Iwillargueforproducingadiscursiveenvironmentratherthananimmersiveoneinsoundart.Iwillexaminethepossibilitytocreateartworkswheretheindividualityoftheaudienceiscarefullyconsideredandtakenintoaccountasaparameterforafruitfuldisseminationoftheartwork.Anexhibitionfromtheproject“ExileandOtherSyndromes”willaimtoaddressandexplorethis


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possibilityincorrespondencewithmyproposedpaper.Iwilldiscussanumberofrecentworksaswellasconductaself-reflectiveanalysisoftheexhibitedworktodevelopandsubstantiatemyargument.DianaCHESTER(AU) UniversityofSydney

BIRTH Track6

ABSTRACTIamproposingapaper/presentationthatwilllookatasoundartpieceIcreatedentitled,BIRTH:ASonicStoryboardofanElderlyPrimagravida.Thepaperwillexplorethesonicresonanceofthebodyandofthemedicalsystemswemovethroughonourbodies.Byconsideringthesonicqualitiesofmedicalprocessesandpracticesastheyapplytopregnantwomen’sbodies,Iwillofferaperspectiveofhowthesoundssurroundandofbirth,canparticipateinadiscourseontheaestheticandtemporalqualitiesofwomen’slivedexperiencearoundbirth.Whatisitabouttheprocessofrecordingwhatweexperiencethatallowsthesoniccontentoftherecordingtobecomeevidence,afactualmarkerofourlivedexperiences,andcanthisimpactothersunderstandingoftheseunjustpoliciesandpractices?Whatdorecordingsrevealaboutwomen’smovementthroughmedicalspaces,andhowdowe“listenback”tothem?HassanCHOUBASSI(LB) JoeELIAS(LB) SaharSHARARA(LB)InternationalUniversityofBeirut

InternationalUniversityofBeirut

InternationalUniversityofBeirut

Siri,GiveBeBackMyEye.FromAudioCulturetoVideoandBack Track4

ABSTRACTWhenIaskSiritogivemebackmyeye,“she”replies:“Thatmaybebeyondmyabilitiesatthemoment”littledoessheknow,ormaybesheknowsalot,aboutMarshallMcLuhan’ssayingthatweweregivenaneyeforanear.Inhisbook“TheGutenbergGalaxy”hearguesthatprintingpressandphoneticalphabettransformedthemodeofperceptionfromtheaudibletothevisual.Listeningwasreplacedbyreadingandweweregivenaneyeforanear:“Civilizationgivesthebarbarianortribalmananeyeforanearandisnowatoddswiththeelectronicworld”.Butyetagainheclaimsthat“Electrictechnology”broughtusbacktoaudiobasedsociety,comparedtoonethatisvisualbasedwhichstartedwiththeinventionofthephoneticalphabet,“(…)Ourworldshiftsfromavisualtoanauditoryorientationinitselectrictechnology”.Today,withthenewtechnologiesofmobileconnectivity“tele-phonetic”mediaareregaininggrounds.Audiocontrolsarebecomingessentialinourinteractionwithmachines,fromSiritoAlexatoOkGoogle,AdvancedDriverAssistanceADAS,GPSnavigationdevicesandsmartcallcenters.Today’smediaaugmentationblursthelinesofwhatreallyconstitutes“medium.”Ithasinmanywaysalteredthewaywethinkoract,aswefindourselvesforcedtoabandonthelinearsequentialmediaweknowandhaltintothecoreofthefragmentedsphericalfeed,afeedofviolenceprovidingahugeamountofauditoryandvisualinformation.Itisanactofbombardment,afeedthatviolatestheindividual’sprivacyandprivatespacethroughmanipulation,monitoringandsurveillance.MaileCOLBERT(PT) IFILNOVAFCSH/NOVACineLab;Binaural/Nodar;SonicField

WaybackSoundMachine.SoundthroughTime,Space,andPlace Track8

ABSTRACTThestorybegins:whileworkingonaprojectinCornwallyearsago,Iwalkedalesser-knownarmoftheSantiagoPilgrimRoutecalledSt.Michael’sWay,anancientpilgrimpathhalf-coveredintimeandtime’sartifacts.Towardsthemiddleofthepathatopthehill,windcarriedsonicpiecesofthedaytodayfromthevillagesoneachside–oldlanguageandnewtools,birdsongcallingupbirdsonglonggone,churchbellsofbothhardalloyandelectronics.Istartedtodreamofawaybackmachineforsound.Whatifasyouwalkedthispath,youcouldlistentotimespinningback–listentohowitmighthavesoundedthenandwhen?Andwhatcouldyoutakefromthatexperience;whatwouldtheexperiencecontribute?Ifsensingisofanessencetoanembodiedexperience,howcanwecreateasensualpastinthepresent,andwhatdoweconsiderwithinthatact?Myworksincethenexploresvariousartisticformsandtextof/onsoundfromthepast–anddesigningandcomposingsoundforthepast–toconsiderwhatknowledgeandapplicationcanbegainedfromtheconcept,


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particularlywithinacultureandculturalhistoryinwhichthevisualispredominantwithinasegregatedsensoryhierarchyinmediatingourperceptionoftheworldaroundus.Thisworkproposesthattherelationshipbetweenoursoundscapeandsounddesigncangivekeyinformationabouthowwelisten,whatwelistenfor,andwhatthatcantellus.Thisworkisworkingtoshowthatthisinformationholdsbenefitsandcontributionstowardsmanydisciplinesincludingartandcinema,archivestudies,ethnography,andecologyandinvestigatesthroughartwork,soundart,cinema,soundmaps,practice-basedresearch,casestudies,philosophicalinquiry,andmappinganewpathinsoundstudiesconnectingsoundscapeecology,soundethnography,soundartanddesign,andauralculture.DanaCOOLEY(CA) UniversityofLethbridge

BetweentheDrops Track7

ABSTRACTInductionloopsareverybasicandoldtechnology:acurrentispassedthroughaloopofwiretogenerateanelectromagneticfield.Thesespeciallisteningzonesareusedinmanypublicspacessuchascinemas,placesofworship,andgovernmentbuildingstoallowthehearingimpaired,throughtelecoil-equippedhearingaids,tobypassextraneousnoiseandtapintoaclearsignal.InmypresentationIwillspeakaboutmyrecentprojectbetweenthedropswhichmakesuseofmultipleinductionloopstogenerateanembodiedlisteningexperience.Thenameoftheproject––betweenthedrops––playfullyreferencesthedroppingofaturntableneedle,onlydropsputsthelistenerintheroleofdj,invertingthewaythatmostpeopleusuallyexperience“music.”Further,theproject’snamealsoobliquelytapsintotherecentpopularityofsoundbathing(thepracticeofimmersingoneselfintherapeuticsonicfrequencies).Justasscientificresearchhasconfirmedthatcolourcanaffectourmood,aswellasinfluenceourunconsciousbias,thereisanincreasingawarenessofthewaysinwhichoursonicenvironmentaffectsourwellbeing.TheimportanceofrespectingouracousticecologyandengagingwiththesonicqualitiesofourworldresonatesdeeplyinPaulineOliveros’“DeepListening”andJaneBennett’s“vitalmaterialism”and“vibrantmatter”:awayofbeingintheworldthatmeansreallylisteningtothings,thestrangewonderfulembodiedworld,asifitreallymattered.dropsaimstoconstructaspace(physicalandacoustic)thatbothinvitesustorelaxandthattunesourawarenesstoourmovementsandrelationshiptooursurroundings.dropsinvitesustolisteninamuchfullercapacity,askingustodeliberatelymoveourselvessothatwemaybemovedbythesoundswesequence,therepetitionsandrefrainsweframe,andthesegueswesolicit.RenéeThérèseCOULOMBE(DE) BansheeMedia/ImprovisedAlchemy

“Dreams,IllusionsandOtherRealities”SoundingtheOneiricinImmersiveTransmedia Track7

ABSTRACTWhilerecentscholarshipintothesonicdimensionsoftheuncanny(vanElferen;2012)hasfirmlylocatedsoundasamaterialmanifestationoftheliminal,theGothic,inmediafrom19thcenturyliteratureto21stcenturyvideogames,scantworkexistseitherasartisticorscholarlyresearchastothepresenceandstrategicdeploymentofspatializedorimmersivesoundintransmediainstallationsengagingwiththeuncannyorliminal.BuildingontheroleorfunctionoftheRealinresistingsymbolization(Žižek2005),thisshortlecturedemonstrationpresentsrecentworkbytheperformancecollective,ImprovisedAlchemy,andtheirforthcominginstallation“TheTempleoftheOneiri”asprimaryexampleofthestrategicdeploymentnotonlyofsoundassublimemanifestation,butasfoundationaltotheexpressionoftheuncannyitselfthroughitsfurtherspatializationwithintheinstallation.Howeveracknowledgingthespectralityofsoundanditsrelationshiptospaceisinsufficient.Tracingtheconceptualdevelopmentofthework,locatingitwithinarichtransmediahistorybothofspatializedandimmersivesoundartaswellastheatricalorotherperformanceartworksconcerningdreamstates(Ione,2005)inadditiontopresentingdocumentationoftheworkitself,attemptstoaddressboththecriticalgapinscholarlyworkonthetopicofsonicspatializationandtheReal,aswellasextantaccountsofartisticresearchengagedfullywiththesecriticalconcepts.Outliningourmethodologiesofcommunitydreamincubation,materialsgatheringthroughdreamsharingandfieldrecordings,aswellasstrategicadditionofinteractivevisualandtheatricalelements—whileunderstandingsound’scriticalworkbothasprimarysourcematerialaswellasprimarymodeofexpression—advocatesforcontinuedresearchintothe


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uniqueroleaudioplaysincontemporarymediacultureasexpressivechannel,inbothformandfunction,forthemysteriousshadowsrepressedtoliminalitybymodernityitself.SadieCOUTURE(CA) ConcordiaUniversity

AuralIntimacies:GenderedConstructionsofFamiliarityonTheMaryMargaretMcBrideShow Track2

ABSTRACTInthispaperIpresentandtheorizetheworkofMaryMargaretMcBride,apopularyetunder-theorizedradiopersonalitywhohostedanumberofshowsonAmericannetworkradiofrom1934-1954.Onhergenre-defyingprograms,McBridechattedinacasualandunscriptedwaywithherguestsabouttheirrecentwork,lifeexperiences,andthoughts,fluidlydiscussingboththeirprofessionalandpersonallives.McBride’sunscriptedconversationalstylewasuniqueforherera,inwhichtightlyrehearsedshowsdominatedtheairwaves,andherroleasawomaninanon-performing,on-airrolewassimilarlyexceptional(Hilmes,1997).Herformallyinnovativeuseofradiotechnologyproducedaninterestingrelationshipwithherlisteners,characterizedbyfeelingsofclosenessandintimacy(Ware,2005).InthispaperIpresentfindingsfrommyarchivalresearchattheLibraryofCongressinWashington,DCduringwhichIconsultedasignificantnumberofMcBride’sprogramsandacollectionofherpapers.IfocusontheformofMcBride’sprogram,specificallyonsoundscapeandauralfeatures.IfollowNeilVerma’s(2012)insistenceontreatinghistoricalradioonaesthetictermsinmyanalysisofMcBride’swork.Iask:whatdoesthisprogramsoundlike,andhowandwhydiditfostersuchclosepersonalconnectionsbetweenlisteners,guests,andMcBride?IcommentonMcBride’sinnovativeandunderrecognizeduseofhermedium,andthefeminizedaurality,non-segmentation,fluidity,andpaceofhershow.Icontributetothewritingofwomenbackintoradiohistory,andarguefortheformalandaesthetictreatmentofalltypesofaudiomediabyofferingamodelfordifferentrelationsbetweenthecategoriesofart,journalism,ofhighandlowculture.IpresentandtheorizetheintimatefeelingsproducedbythesoundscapesofMcBride’sshowandthehistoricalandcontemporaryimplicationsofthesefeelings.ReferencesHilmes,M.(1997).Radiovoices:Americanbroadcasting,1922-1952.Minneapolis,MN:Univ.ofMinn.Press.Verma,N.(2012).Theaterofthemind:Imagination,aesthetics,andamericanradiodrama.London,Chicago:TheUniversityofChicagoPress.Ware,S.(2005).It’soneo’clockandhereisMaryMargaretMcBride:Aradiobiography.NewYork:NYUPress.IracemaDEANDRADE(MX) CentroNacionaldeInvestigación,DocumentacióneInformaciónMusical“CarlosChávez”

SonicExperimentationandAvant-gardismintheInterdisciplinaryandElectronicWorksofAliciaUrreta(Mexico,1930-1986) Track2

ABSTRACTThispaperaimstocontextualizethepioneerworkofthepianistandperformerAliciaUrreta(Mexico,1930-1986)asanelectroniccomposerandinterdisciplinaryartistwithintheMexicanconcertmusicsceneduringthesecondhalfoftheXXcentury.ItwilldiscusshermusicalpracticeasexperimentalinthelocalcontextaswellasitsassociationwiththeSpanishandFrenchAvant-gardemovementswithinabroaderhistoricalandaestheticframework.Throughoutthe60’suptothemid-80’s,UrretaplayedanimportantroleinthepromotionofnewcompositionalcurrentsintheMexicanartisticmilieu.Althoughmostofhermusicalproductionwouldbeaestheticallyassociatedwithserialism,avant-garde,conceptualismandtheneworientationsofelectro-acousticmusic,Urreta’sartisticoutputcouldsometimesberatheridentifiedwiththeexperimentationwithsonicfieldsenhancedbythemediationofnewtechnologies.Hercloserelationshipwiththeworldoftheater,cinemaanddancewouldbereflectedinintermediatecreativepropositionsanddifficulttoclassifywithinthelimitsofthemorecommonlymusicalgenresaddressedinhertime.In1967,shecomposedherfirstelectroacousticworkfortheplaySotobaKomachi,whichmarkedthebeginningofherincursionintoanintuitiveuseofelectronicresourcesforsoundcreation.In1969,shewasacceptedattheScholaCantoruminParistostudycompositionandelectronicmusicwithJeanEtienne-Marie,andfromthenon,shemadeapioneeringworkinthefieldsofinstrumentaltheater,soundpoetryandinterdisciplinarycreation,whose


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expressionswouldoftenrecurtotheintegrationofmultimediaelements.DespitetherelevanceofhercontributionsintheprocessofmodernizationofMexicanconcertmusic,systematicstudiesaboutherlifeandworkarestillrare.ThispaperseekstoreassessUrreta’soriginalapproachtoartisticcreationandmusicalpracticesthroughtheanalysisofsomeofherinterdisciplinaryandelectronicworks.BorisDEBACKERE(BE) StevenDEVLEMINCK(BE)LeuvenUniversityCollegeoftheArts KULeuven;LeuvenUniversityCollegeoftheArts

Songlines:MediatedEnvironments Track7

ABSTRACT“Tofullyunderstandthecontemporarychangeincivilization,weneedtoexaminethefirstmajortransformationintheecologyofmedia:thetransitionfromtheoraltoliterateculture.”—PierreLévyThispaperinvestigateshowinformationisprocessedandmemorizedintheoralloreasastartingpointandexpandsintothequestionofhowtheexperienceof‘data’canbemappedontoanauditoryinteraction.Theresearchisinspiredbythecenturies-oldphenomenonoftheAboriginalsonglines.InhisbooktitledTheSonglines,Chatwindescribes:"ThelabyrinthofinvisiblepathwayswhichmeanderalloverAustralia.”SonglinesprovideforIndigenousAustraliansadetailedmapofthelandscapeandexpresstherelationshipbetweentheland,seaandthepeople.Thepathsofasongline,alsocalleddreamingtracks,isrecordedintraditionalsongs.Thisenablesaknowledgeablepersontonavigateacrossthelandbyrepeatingthewordsofthesong,whichdescribethelocationoflandmarksandothernaturalphenomena.Themapisinthesongandbysingingthesongsintheappropriatesequence,indigenouspeoplecouldnavigatevastdistances.Inthisoraltraditionofmappingandmemorizingtheenvironment,thevoiceisnavigation.Assuch,theperformanceofinformationexchangeisentirelyentangledwiththeenvironmentandbecomesaguidingprinciple.Themediummapsthematerialityofthephysicalspaceandestablishesamodelofinteraction.Thepapersetsouttoinvestigatetheroleofauditoryexperienceandinteractionwithourcontemporarymediatedenvironmentofcomputationalandautomatedprocesses.PrzemysławDEGÓRSKI(PL) AdamMickiewiczUniversity

SoundscapeRevisited:Zero-personPerspectivebetweentheSoundandtheHuman Track6

ABSTRACTInmypresentationIwouldliketoreshowthesoundscapeconceptcreatedbyRaymondMurraySchafer.IwouldliketoextenditsrangewithacontemporaryecologicalperspectiverepresentedbysuchphilosophersasBrunoLatourorTimothyMorton.TheacousticecologyintroducedbySchaferin1960sisbasedonthestrictlyanthropocentricmodelwhereahumanissurroundedbythesoundeventsorthesoundenvironments.Thesoundinthiscaseisreflectinghumanscultural,historical,sociologicalandeconomicaltransitions-thechangesthatareconstitutedonlywithinexternalrelationsbetweenthehumanandtheenvironment,onlywithinahumanperception.TheadventofAnthropoceneepochre-evaluatedthestatusofthehumanintheenvironment.Alongwiththeposthumantendenciesithasblendedthehumanamongothernon-humanbeingscreatingtherelationshipsofequalpotentialofagenciesonbothsides.BrunoLatourproposestoabandontheanthropocentricwayofthinkingonbehalfofcollectiveperceiving.TimothyMortonadoptsthezero-personperspectiveinthewayofthinkingaboutthelandscape-thehumanisnotathird-personobserverbutisincludedinthelandscapewithallofhissurroundings(includingtheacousticalenvironment).Iwouldliketotranslatethisnon-anthropocentricwayofthinkingaboutecologicalconnectionsintothecontemporarywaysofusingsoundscapesbothinscience(i.e.Dunn,Crutchfield-soundscaperesearchonthebarkbeetle)andart(i.e.Kamińska,Degórski-interactiveinstallationReflections).Iwouldliketopresenthowthesoundandthesoundscapecanbetheautonomous,dynamicnon-humanagent.IwouldalsonotehowthiskindofrelationshipsenhancesthewayofperceivingtheacousticrealityandcreatestheaforementionedMorton’szero-perspectiveinwhichthehumannotonlyobserveschangesintheacousticspacebutalsointeractwiththeindependentsoundagency.


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ChristinaDELLAGIUSTINA(NL)SladeSchoolofFineArt,UniversityCollegeLondon;HKUUniversityoftheArtsUtrecht

youarevariations Track6

ABSTRACT'youarevariations'isastudyofwaterandhowitgeneratesrelationality.Itprocessesscientificdataofthewater-cycleoftreesdifferently:ittransformsitintoaseriesofmusicalscoresthatattemptto(re-)enacttreesthroughperformativelight-andsound-environments.Theresearchconceptuallylinkstoecosophicaltraditionsandhistoricallytovariousculturesthatcultivatenon-temperedtuningsystems.FromareviewofWhitehead’sprocess-philosophyintheageoftheAnthropoceneandstudiesonhistoriesoforderinWesternmusicandphysics,aconstellationofdiscursive,artisticandmusicalclustersemerge.Thesediachronicalconstellationsrevealdifference,substitution,relegation;themediationatstakeincitestransformation.youarevariationsplayswiththefoldingprocessoftranslation,apprehendingitnotasanexclusivelyhumanpractice,butastheveryfabricandfabricationofrelation.Itisneitherme,northetree,northewater,thatcomposes.Devisedtostudythetree’shydrologicalcycle–asmeasured,modelledandinterpretedbyhard-andlife-science–thescoreperformsthedataintheformofacollaborativeliveevent.'youarevariations'’eightversionssofarteachastartlinglysimplesapience:Its’soundsdiffer,whileeachiscontained,slowandsevereinitsownway.Inafirstlisteninginstancetheyappearassorrowfullargosgrievingaloss.Iftheprojectismourningstructuralexclusionfromourenvironmentandeachother,'youarevariations'acknowledgesthisloss.Extendedlisteningcanallowforatangiblesonicinclusiontoemerge:Youjoinaconstellationoftrees.Toharbourarelationshipwithtrees'youarevariations'disclosesacentralvoid:thepausebetweenthebreathsyoutaketoreadthis,theblankbetweenus.Itresearcheshow-withthehelpofwater–thisgap,thisinterval,startstoresonate,becominganapertureforanewkindofwe.StevenDEVLEMINCK(BE) BorisDEBACKERE(BE) ToonvanWATERSCHOOT(BE)KULeuven;LeuvenUniversityCollegeoftheArts

LeuvenUniversityCollegeoftheArts

ESAT-STADIUS,KULeuven

LiquidFlâneur Track4

ABSTRACTWalkingandlisteningasanimaginativetoolforcreationandorderingexperiencein‘liquid’times.Thisproposalintroducesanartisticandscientificprojectonsoundlocalizationthroughthehardwaredevelopmentofheadphoneswithareal-timedecoderforAmbisonicaudiofilesbuiltin.The4-channelB-formatistranslatedintoastereooutputaccordingtotheheadpositionofthelistener.DesigningasoundexperiencewithacontinuoussphereofAmbisonicaudio,thisprojectresearcheshowtoestablishforthelisteneramulti-viewpointexperience.TheapproachisinspiredbythedynamicconceptoftheFlâneurasintroducedbyBaudelaire,replacingsingleviewpointcategorization.Thisconceptisre-appropriatedforitscapacitytoconnectwiththedifferentformulationsofchange,toindicateacommongroundoreffectofmoving,asanareaforcreationordiscovery.TheresearchembracestheconceptofLiquidModernityintroducedbysociologistZygmuntBaumanasaframeworkthroughwhichtoobservethewaysthatthelived-inworldandparticularlyart,cultureandtechnologyareexperiencedanddiscussedassocialsubjects.Whatarethemeritsofa‘pointofview’whenweareconfrontedwithanapparentshiftfromrigidcognitiveframeworkstowardsmore‘fluid’socialandculturalinteractions?Whattypeofauralizedexperimentscanbeintroduced?Theprojectseekstodefinea‘liquid’formofanalysis(artisticandscientific)toapprehendthecomplexityoftransformingculturalvalues.Beingliquidorflaneurthroughsoundlocalizationisproposedasamethodorstrategy,replacingtheisolatedandsolitarypointofviewwithamulti-viewpointtheoreticalandpracticalapproachtodealwithandendurenewcomprehensionandmeaning.KateDONOVAN(DE)

ZeM;UniversityofPotsdam

ListeningthroughtheElements:EcologicalRadioArt Track6

ABSTRACTRadioiscurrentlyatasignificantjunctureasmajorcooperationsswitchfromfromanaloguetodigitalplatforms,andthereisaconcurrentshiftfromlive,collectivelisteningtofragmentedlisten-on-demandmedia(Hall2015).Partlyduetotheseshifts,radiois(re-)establishingitselfasamediumforartisticpractice.Despite


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itsemergentandoftenmarginalisedpositionwithinthelandscapeofthearts,itinherentlyworkstoexpandperceptionsnotonlyofthecapabilitiesofbroadcastradioasanartisticmedium,butalsotheubiquitousnaturalphenomenafromwhichradiostems.Inthisway,radiolendsitselftoenvironmentaldiscourses,becauseitisinitselfbothanorganicandatechnologicalphenomenon.Anthropogenicradiovariesgreatlyfromtheseeminglyephemeralformofbroadcastradio,tothelong-lasting,geologiceffectsofradioactivity.Indeed,theradioactiveelementsthatspreadacrosstheplanetfromnuclearweaponstestingin1945areseenbysometomarkthebeginningoftheso-calledAnthropocene(Demos2017).Thispaper,therefore,referstoradioasanelementalmedium(Durham-Peters2015,Kramer2018),onethatworkswithintheatmosphere,theaether,andatthesametimegroundsitselfinthegeological.RadioArthasbeendescribedasaninquisitivemediumthatlistens(Westerkamp1994,Friz2016).Iarguethatlisteningisanintegralactofenvironmentalawareness,which,especiallywhenappliedthroughradioart,canrevealthetrans-scalarnetworksthatareintrinsicallyatplaywithinthenaturalelectromagneticenergiesthatcanbefoundinalllifeforms.Thispaperpositionsecologicalradioartasanartformwhichopensoutperspectivesofradioandtransmissionbyrecognisingelectromagneticenergiesasanagentalforce,whilstsimultaneouslyarguingthatlisteningthroughsuchradioartisaneffectivewaytomovebeyondanthropocentrism,andindeed,tomoveproductivelybeyondthe'Anthropocene'.JuanCarlosDUARTEREGINO(FI) AaltoUniversity

ParasiteRadio.EnvironmentalArtRepurposeoftheRadioMedium Track4

ABSTRACTTheanalogradiooffersanapproachtolowpoweredandself-madetechnology,whichdoesnotrequirethelargermaterialanenergeticinfrastructureofanInternetservice.FMradiotransmissionisundervaluedandoffersapotentialtoresistthecentralizationofdigitalarchiving,andthecollateralresourceimpactproducedfromserverstorageandoperation.ThisarticlepresentstheParasiteRadioprojectasanartisticappropriationofthesupposedlyobsoleteradiomedium.Theaimwastooperationalizetheradiotobeusedbeyonditsformerpurposeofacommunicationchannel.Theprojectexperimentedwithtelematicinteractionsbetweentheenvironment,radiosignalsandsoundscaperecordings.Themessagetransmittedthroughmultipleinputsconvertingbio-chemicalreactions,Aeolianenergy,orkinetictransformationsoftheenvironmentintoradiosignals.Thisenabledtoexpandhumanlisteningand,perhapsalso,informedothernon-humanagentsaboutecosystemtransformations.ParasiteRadioalsobroughttogetherNordicandsouthernsoundscapesandsitesintofeedbacklooptransmissionstogeneratenewsonicmaterials.Thus,italsofacilitatednovelinter-relationsbetweendiverseartisticcommunitiesandassistedintechnologicalappropriationsbydecentralizedartorganizations.Thearticleshowshow‘old’mediasuchastheradiocouldbeoperationalizedtoactinacontemporary‘new’mediacontextforminghybridmediaecologiesstretchingacrossgeophysicalboundaries.Here,mediaarchaeologybecomesamethodtoconductcriticalandartisticexaminationsofmediatechnologiesasconcernedwithenergyandecology.Itservesasanenergyartpracticetoaddresstechnologicalobsolescenceaswellasstudyitseffectsontheenvironment.TomiDUFVA(FI) TaneliTUOVINEN(FI)AaltoUniversity AaltoUniversity

EncounteringDataEntitiesthroughDirtySonification Track7

ABSTRACTWeliveinaworldthatiscomplexlyintertwinedwithdigitality.Forinstance,mostofourperceptionsaremediatedthroughdigitaltechnology.Thismeansthatwealreadyhaveaveryintimaterelationshiptodigitaldata,butatthesametime,onlyafewofushavetoolsorknowledgehowthedigitalworldactuallyworks.Whereas“real”worldcanbegraspedthroughourbodiesandliving,theworldofdataisoftenperceivedasdistantandabstract.Howtodemystifyourrelationshiptotheworldofdata?Inthispaper,weareintroducingpedagogicalandartisticmethodstodirtytheabstractnessoftheworldofdatainordertomakeitmoregraspable.Ourinterestisbridgethegapbetweendataand“real”entitiesandrathertreatdataaspartofthesamerealitywearealreadyliving.Thismeansexploringdataasgraspableentitieswedonotknowyet,ratherthaninformationwealreadyknowwhatitisfor.Assuchwewanttoquestionthesphereofbigdataasaseparateentityofinformation.Weconsiderourapproachasdirtyposthumanism:whereasposthumanismhasbeencritiquedonhumanizingnature,wepurposelyaimtohumanizedatatoencounterentitiesthathavetheir


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ownnature.Wearguethatbyhumanizingdata,weactuallycanbecomemorecriticalandactivetowardsourhumantendencies.Ouraiminthispaperisasortofempoweringdissensus,tobringforththestructuresof“digi-grasping”withinthepost-digitalworldanddiscussthepremisesandaimsoftheartandeducationinthepost-digitalworld.UmutELDEM(BE) UniversityofAntwerp

BetweentheSenses:WhatOurBrainsRevealaboutOurConnectionbetweenSoundandColour Track9

ABSTRACTTheideaofacolour-musicconnection,thatthereisanaturalcorrespondencebetweenourperceptionofsoundandcolour,existsthroughoutthehistoryofartandphilosophy.Someartistsandcomposershaveevenclaimedthattheycould‘see’musicor‘hear’colours,suchasOlivierMessiaen,AlexanderScriabin,andWassilyKandinsky.Itisonlyinthelastcenturythatsynaesthesia,theexperienceofmultiplesensesfromasinglesensoryinput,hasgainedrecognitionasalegitimate(butrare)neurologicalcondition,duetotheadvancementsintheneurosciences.Whiletheaestheticconnectionbetweensoundandcolourisgenerallyviewedasarbitraryandidiosyncratic,theexistenceofsynaesthesiashowsthatthisrelationshiphasinfactabiologicalandacollectivelyperceptualbasis.Synaesthesia,anditsaestheticreceptioninnon-synaesthetes,opensnewavenuesinartisticresearchregardingtherelationshipbetweensoundandcolour.AsapartofmyPhDresearchintothissubject,theaimofthispresentationistoinvestigateanddiscusstheexistenceandapplicationofsynaesthesiaincomposersandartists,andaddresshowitrelatestotheinterconnectednessofourcollectiveperceptionofthesenses.Iwillbeanalysingdataontheeffectsofcolour-relatedvisualelementsontheperformancepracticesofmusicians,andthecollectiveaestheticperceptionofinterdisciplinaryartregardingsoundandcolourintheaudience.Theresultswillbepresentedanddiscussedinthispresentation,alongwithadiscussiononsynaesthesiaanditsapplicationsonmultimediaart.Thiswillclarifynotonlyourperceptionaltendenciesinmulti-sensoryart,butwillopenupnewpossibilitiesintheapplicationofmultiplesensesintheinterdisciplinaryarts.Theoutcomewillbebeneficialtoartistsandartisticresearchersinunderstandinghowoursensesinteractwhenconcerningmultimediaart,andinapplyinginterdisciplinaryandinter-sensoryconceptstotheircreativepractice.ClioFLEGO(IT) MediaArtsCultures

Re/SoundtheUn/SeenBody Track6

ABSTRACTThebodyistheorganismthroughwhichhumansexpressthemselves,exhibitingpropertiesoflifeinresponsetoavarietyofstimuli,defininggendersandoftenalsosociety'sstandardsandexpectations.Itisalsoalivinginstrument,inwhicheachpartisessentialinordertomakethewholesystemworks.Fromanotherperspective,thebodycouldalsobedefinedasanorchestra,composedbyacertainamountofsoundsthatintertwiningtogethercreateavarietyofharmonicsequences.Asapoliticalphenomena,biodatacollectionisnotonlydedicatedtosurveillanceandcontrolregimes,butalsotosonificationpractices,bendinghumanrealityperceptiontotheembodimentofwhatisnormallyunseen.FromthebrainwaveslivesonificationofAlvinLucierin1965,totheirisdatatransformationofEyes(2018)byYoonChungHan,awiderangeofinteractiveinstallationshavebeenmadetoconvertspecificbodypartsintosoundtracks,transformingorganicobjectsintonewformsofinsight.Apeculiarauditoryjourneyundertheskinisinthispaperthecircumstancetoaddresssomeethicalandpoliticalissuesconcerningnotonlytheproductionofknowledge,butalsothenewperspectivethatsuchexplorationallowsinavisual-basedera.Canbothbodyandsoundbeseenasactofresistanceinthenot-revolutionaryworld?Arethembothtriggersofconsciousnessinthisparadigm,oraninstrumentofreassurance?Whatistheirroleintheredefinitionoforalityandnonlinguisticformsofcommunication?Aninfinitepossibilityofconnectionsandrelationaldynamicsmakebothbodyandsoundabletogiveshapetoinvisibleactsofresistance,sowhattheirin-deeppositioninthegovernanceecosystem,inwhichhi-techdevelopmentistakingthescenebasedonthevisionactivity?


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FrancescaFRANCO(UK) UniversityofExeter

InconceivableYetComputable:FromAlgorithmicMusictoAlgorithmicDrawingsandBack Track5

ABSTRACTInthehistoryofmediaarttherehavebeensignificantcorrespondencesbetweensoundandvisualexperimentationsthathavehadaprofoundimpactincontemporaryartbuthavebeennonethelessoverlookedovertheyears.Thispaperwilllookathowthesystematicuseofthecomputerinmusiccomposition,particularlythatappliedbyFrenchcomposerPierreBarbaudinhisearlyalgorithmicmusicfrom1959onwards,hashadakeyroleininspiringvisualartists,includinganumberofinfluentialcomputerartpioneers,intheirpractice.ItwasBarbaud,forexample,thatinthelate1960sinspiredthenabstractexpressionistartistManfredMohrtoundertakehisfirstexperimentsincomputerprogrammingandtocreatehisfirstalgorithmicdrawingsin1969.Sincethen,Mohr’spassionforserialismandrhythmhasbeenaconstantsourceofinspirationandstillresonatesinhismostrecentworks,suchasArtificiataII(2012-15),aseriesofcomputer-generatedreal-timealgorithmicanimationsthattaketheartist’svisualresearchintowhathehasdescribedas“visual-music,inamusicscore-likeflow”.Thepaperwilllookathowthisseriesofworkshasdeveloped,andhowithasinfluencedayoungergenerationofartistsinvolvedwithsoundexperimentationanditsvisualrepresentation.ArtistsandworksdiscussedincludePeterBeylsandhis“InteractiveCellularAutomata”(1998)and“CellularAutomataMusic”(2014).DarkoFRITZ(HR)

GreyArea

SoundoftheIsland—LucFerrariandOtherSoundTransmitters Track7

ABSTRACT1959to1972FrenchcomposerLucFerrarienjoyedsummervacationsatVelaLukaattheKorčulaislandinCroatia.1967hemadeafieldsrecordingandwithminimalprocessingormanipulationcomposedthemilestonesoundscapeworkAlmostNothingNo.1:DaybreakattheSeashore,embracingallcapturedenvironmentalsoundsequallyvalidforanartwork,describedbyauthoras"absenceofabstractsounds".1968FerrarialongsidefieldsrecordingsatKorčulaisland,participatedinasummercolonyInternationalVisualArtists’MeetingsinVelaLuka,in1968,whereheproducedamosaicwithmotifofredstarandaparticipatorysoundperformance,envisionedasafolkfestival,wherebyhesuccessfullyincludedthelocalpopulationinamusicprocessionwhichmadeitswayalongthecoastofVelaLuka.Withinthe1972editionoftheInternationalVisualArtists’MeetingshejoinedteamsfromradiostationBadenBadenandeducatedlocalpopulationinworkshopsofsoundrecording,thatwaslaterusedinradioprogram.2107,exactly50yearsafterFerrari'sfirstfieldrecordings,SlovenianartistRobertinaŠebjanićandFrenchcuratorAnnickBureauatsameislandofKorčulaparticipatedinmicro-residencyprogramorganisedbytheGreyArea,spaceforcontemporaryandmediaart,underthetitle:'CriticalTourism:Aquatocenemicroresidency:EscapingSoundPollution'.Theymadeseriesofunderwatersoundrecordingsandliveperformance.ŠebjaničdeployingnewnotionoftheAquatoceneinwhichthesoundoftheunderwaterpollutionisatthecoreofthesoundcompositions.Thesubaquaticsoundscapeencourageustoreflectupontheanthropogenicsonicimpactontheunderwaterhabitatandmarinelife.Herworkexplorethephenomenaofinterspeciescommunication,sonificationoftheenvironmentandtheunderwateracousticaswellinvestigatesthephenomenonofunderwaternoisepollutioncreatedbyhumankindintheseas.AnnaFRIZ(US) UniversityofCalifornia,SantaCruz

AcousticandPerformativeFieldworkonthePlainsofPatience Track6

ABSTRACTForthepast2years,IhavebeenresearchingandrecordingalongthehistoricalandcontemporaryindustrialcorridorofthehighaltitudedesertsofnorthernChilenearCalama.Incorporatingpracticessuchassoundwalkingand‘fieldsrecording’(phonographiesofacousticandelectromagneticwaves),photographyandperformativevideo,thisresearchseekstoexpressivelydocumentthetemporalityandscaleofextractiveindustriesandaccompanyinginfrastructuremadebyhumansinanequallyvastextra-humandesertand


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mountainousenvironment.Underthetitle"WeBuildRuins",theeventualaudiovisualinstallationseriescontemplatesthehistoricalandfutureimpactofindustrialdevelopmentthatiscurrentlyservicingdemandforcopper,lithium,andrareearths,allkeyelementsinsuchhigh-turnoverminiaturetechnologieslikesmartphonesandmedia-makingdevices.Iinvestigatethesecontrastingforcesofsmallandlarge,andhardandsoft,throughdurationalinvestigationsoflandbecomelandscape.ByattendingtothemicroandmacroscalesofhumanactivityinrelativelyremoteareassuchasthePlainsofPatience,whichoccupyaremotespacebetweenurbansprawlandwilderness,Iinvestigatetheroleofpeople(andartists)asagentsinthemyth-makingandstorytellingprocesswhichmightalsosuggestcounter-narrativestothoseofprogressandgrowththatpropelunsustainableextractivistindustries.Environmentsarealsomedia,andbodiesrecordingdevices.Methodologicallytheresearchasks,howcandisciplinesoflisteningleadtheconceptualizationandvisualorimage-makingaspectsofanaudiovisualproject?Howcanpracticesoflisteningandattentiontosoundgenerateperformativegestures,whichinturndefinedocumentation,composition,andpresentation?TiffanyFUNK(US) UniversityofI l l inoisatChicago

DeepListening:EarlyComputationalCompositionandItsInfluenceonAlgorithmicAesthetics Track9

ABSTRACTThepopularityoftheprogramDeepDream,createdbyGoogleengineerAlexanderMordvintsev,explodedduetotheopensourceavailabilityofitsuncanny,hallucinogenicaesthetic.Onceusedtosynthesizevisualtextures,theprogrampopularizedtheconceptofneuralnetworktrainingthroughimageclassificationalgorithms,inspiringvisualartinterrogatingmachinelearningandthetrainingofproprietarypredictionalgorithms;thoughDeepDreamhasfacilitatedtheproductionofmanymundaneexamplesofsurrealcomputerart,ithasalsohelpedtoproducesomeconceptuallyrichvisualinvestigations,includingMacArthur“genius”awardeeTrevorPaglen’srecentinstallationAStudyofInvisibleImages.Whilethesignificanceoftrainedneuralnetworksarepresentlyconsideredvaluabletocomputervisionexperimentation,amedialarcheologicalinvestigationoftheconceptualunderpinningsofmachinelearningrevealsthefundamentalinfluenceearlysonicexperimentsincomputationalmusichaveinitscomputationalandconceptualframework.Earlycomputationalmusicworks,suchasLejarenHillerJr.andLeonardIsaacson’sIlliacSuite(1957),thefirstscorecomposedbyacomputer,aswellasHillerandJohnCage’sambitiousmultimediaperformanceHPSCHD(1969),usedstochasticmodelstoautomategame-likeprocesses,suchasGiovanniPierluigidaPalestrina’sRenaissance-erapolyphonicinstruction,aswellastheIChingdivinationprocessofcastingcoinsoryarrowstalks.Hiller'sconcernsregardingthehistoricaluseofcompositional/mathematicalgameplayuncoversaconceptualandperformativeemphasisanticipatingthe“training”ofvisualmodels,fromJohnHortonConway’sGameofLife(alsolaterusedasamodelforMIDImusicalcompositions)toMordvintsev’sDeepDreampsychobilicvisualizations.Inconclusion,throughtheadversereactionsofaudiencestoHiller’scompositions,writtenbywhatthepressdeemedderogatorily“Anelectronicbrain”in1957parallelpublicreactionstothedisturbingmutationsofDeepDream,popularparticipationintheopensourceprojectsignalsagrowingwillingnesstocollaboratecreativelywithcomputerstointerrogatebothcomputationalandcognitiveprocesses.IrisGARRELFS(UK) Goldsmiths,UniversityofLondon

TheListeningWall:AJourneyintoScoredListening Track3

ABSTRACTListeninghaslongbeenintheforegroundofsoundartspractice.In1966,soundartpioneerMaxNeuhausstampedtheword“LISTEN”ontothehandsofparticipatingaudiencesandtookthemonawalkaroundManhatten,listeningtoindustrialrumblings,buzzingsofPuertoRicanstreetlifeandlastly,apercussionperformance.Wecurrentlyliveindivisivetimes,illustratedbyTrump’swallbetweentheUSandMexico.Inresponse,ListeningWallisaparticipatoryprojectdevelopedbytheauthor,operatingfromthepremisethattheprocessoflisteningconnectsuswithoursurroundings.ItconsistsofanactualwallfilledwithcuratedsoundrelatedinstructionscoresbyartistssuchasCathyLane,GrahamDunning,JezRileyFrench,JoThomas,SalomeVoegelin,VivCorringham.Indoingso,theworkbringstogetheracommunityoflisteners.Eachofthesescorespresentsauniquevoicewhichrelatesmembersoftheaudiencetotheirsurroundingsandtheirownimagination,becomingaco-creatoroftheworks.Somescoresfocusourattentionontheexperienceof


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listeningandthequalityofthesounditself;othersaimtoinstigaterelationshipswithveryspecificaspectsoftheaudibleenvironment.Othersprioritiseourimaginationorinstilmischievousbehaviour,remindingusthatlisteningdoesnotmerelyrelate,butcanalsobe“…disruptiveinitsnature”(Westerkamp2015).Todateithasbeensetupinarangeofdifferentcontexts,forinstanceQSSGalleryinBelfast,IrelandorPointsofListeningatLCCLondon.Thesedifferentsettingsinturnoffereddifferentlensesontohowdiverseaudiencesmightengagewithsuchmaterials.TakingListeningWallasapointofdeparture,thispaperconsidersseveralquestionsrelatingtothisproject,includingthenormalizationoflisteningexperiences,howweextractfromorbringmeaningtolistening.MonikaGÓRSKA-OLESIŃSKA(PL) UniversityofLodz

(Re)MakingSyntheticVoices:ReversedPosthumanVentriloquism Track1

ABSTRACTInSonicIntimacy:Voice,Species,Technics(or,HowtoListentotheWorld)DominicPettmanwidensthe“circleofthevoice,”bringinginnotonlyotheranimalvoices,butalsothevoicesof“othernaturalandenvironmentalelements,includingmachines”(Pettman2017,p.6).Theproliferationoftechnicaldevicesdesignedforgeneratingandtransmittingpurelysyntheticvoices(thatmayneverthelessbealmostindistinguishablefromahumanvoice)ofcomputationalentities—entitieswelistentoandtalktoonaregularbasis(suchasAmazon’sAlexa,Apple’sSiri,andMicrosoft’sCortana,tonamebutafew),theso-called“vocaltransactors”(Cayley,2017,p.78),notonlyaffectthesonicdimensionofcontemporaryculture,butarealsoreflectedandcriticallyexaminedinart-basedresearch.Thispaperwillexploreartisticexperimentsthatcriticallyengagewiththeaestheticsandtechnicsofvoicesynthesis,subvertingandblendingthebinariesofthesupposedlypolarizedcategoriesorganicandmechanical.IanHatcher’s(https://ianhatcher.net/)virtuosicvocalperformances—Prosthesis(2011),DronePilot(2015),andColony(2017),inwhichhesimulatesthecadenceandsyntaxofmachinespeechwiththeveryanalogueinstrumentofhisown(human)voice—apracticeIproposetocallreversedposthumanventriloquism,willserveascasesforstudy.InmyanalysisofHatcher’sperformances,Iwillbeexaminingthemwithinthecontextoftheculturalhistoryofspeechsynthesistechnology,aswellasinrelationtothetraditionofexperimentalmusicperformedbyvocalistswhouseextendedvocaltechniques(MeredithMonk,TheoBleckmann,PamelaZ,JoanLaBarbara,YokoOno,andSidselEndresen,amongothers).Bibliography:DominicPettman,SonicIntimacy,Voice,Species,Technics(or,HowtoListentotheWorld),MITPress2017.JohnCayley,TheAdventofAuratureandtheEndof(Electronic)Literature,[in:]BloomsburyHandbookofElectronicLiterature,ed.JosephTabbi,Bloomsbury,2017.LauraGRACIA(UK) UniversityoftheArtsLondon

CuratingSonicLabs Track4

ABSTRACTNowadaysdoityourself(DIY)practicesarehighlightedversuscapitalistindustry,promotingasubstantialshiftinthecreationofprototypes,musicalinstrumentsandsoundobjectsthattakeplaceinourcontemporaneity.Theseprototypes,whichchangetheproductionofoursystemandideology,questionthenatureofproductionitself.Thisnewparadigmofproductionhasobviousparallelismsintheaestheticterritory,andso,thefrontiersofhumanperceptionnewlyemergedinformational,physicalandaudiovisualaretransformed.ThiscrescentuseofDIYtechniquesininstrumentmakingandthecreationofprototypesdriftsawayfromthecategorisationofinstrumentsalreadyinthefieldofsoundartbecause,insonicpractice,thereisacorrelationwithmediaarttoo.Thisintersectionbetweensoundartandmediaartisabsorbingbecauseitcanbringnewsignificancetothedevelopmentofartandtechnology.Moreover,thetransformationsinculture,capitalandecologyduringthelate90sarethecontextualhistoryfortheemergenceofDIYlaboratories,hackerspaces,medialabs,andlessfavoured,thesoniclabs.InBrunoLatour’stext,GiveMeaLaboratoryandIwillRaisetheWorld(1983),theessaydefinesthelaboratoryastheplaceinscienceandtechnology,whereinnovationhappens.Fromthedepthofthelab,thesocietyissodirectlymodified.Itdefinesthepowerofthelabtotransformsociety,rebuildingthesysteminwhichisembedded.AsLatoursays,thereisadivisionoflabourbetweenscholarsstudyingorganisations,institutions,publicpolicyontheonehand,andpeoplestudyinginsidescientific


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disciplinesontheother.Thus,iswhythislackofconnectioninbetweenhumanitiesandscientificprocessinthelaboratoryleadtowardsahighlyscientific-technologicalsocietybasedonmodelsofunsustainabledevelopment,representingthelastphaseoftechno-capitalism,ideologicallyalienatedwithneoliberalism.AmandaGUTIÉRREZ(MX) MidwestSocietyforAcousticEcology

Flâneuse>Lacaminanta Track3

ABSTRACTFlâneuse>Lacaminantaisasoundwalkvideoessayfilm,editedasaninteractiveenvironmentwitha360-degreecamera.ThetitleemphasizesanonexistentwordintheFrenchandSpanishlanguageofwomenaswanderers,whichalsorepresentsthelackofinclusivepublicspacesthroughwhichthefemale-identifyingbodycansafelycoexist.ThevideoessayexposestheperspectiveoffourwomenofcolornavigatingurbanlandscapesinMexicoCity,Chicago,andNYandBrooklyn.Thelocationsareselectedbyparticipantsandhaveapersonalmeaningormemoryintheireverydayjourneys,andtheirwritingreflectsontherelationshipofinclusiveness,safeness,vulnerability,andempowerment.RodrigoGUZMAN(AT) DanubeUniversityKrems

Kircher’sArcaMusarithmicabeyondCombinatorics:Language,Playfulness,andAmateurism Track1

ABSTRACTThehistoriesofmusictechnologiesandsoundmediaarerifeincuriosities,oddities,andmisfits.OneofsuchisAthanasiusKircher’sArcamusarithmica,aseventeenth-centurysystemthatcanbeusedtocomposechoralmusicbychoosingandcombiningwoodenrodscontainingpre-composedfour-partvoicesegmentsorganizedbysyllabicpoeticmeters.Althoughoftenregardedasapioneersystemingenerativecreativity—asmillionsofnewcompositionscanbecreatedwithjustafewavailableunits—Kircher’sArcaadvancesmuchmorethancombinatoricsandalgorithmiccomposition.TheArcaproposesadidacticandplayfulsystemthatistobeusedbybeginnersandamateurstocreatefinecontrapuntalandpolyphonicchoralmusic.AversionoftheArca,infact,wasmeantasagifttoa12-year-oldHabsburgArchduke.Furthermore,language,whichservesasthebasisfortheamateurcomposer’schoiceofrods,hasbeenlargelyoverlookedwhenthinkingaboutKircher’sdevice.Inthispaper,IpresentadetaileddescriptionoftheworkingsoftheArca(widelyinaccessiblefortheEnglishspeakingaudience),whilesituatingthedevicewithinitshistoricalcontextandfocusingonoverlookedelementslikeitsdependencyonlanguageoritsplayfulness.Ialsoshowexamplesofworkscreatedwiththissystemandemphasizethecreativeandartisticagencythattheamateurcomposeractuallypossesseswhenutilizingthisdevice.IattemptnottobelittlethemeritofKircher’sdeviceasanearlyexampleofmusicalcombinatoricsandalgorithmiccompositiontechniques.Instead,IintendtoenrichthisnarrativebycontextualizingtheArcaandprovidingrealmusicalexamples.Despitebeingwidelyreferredtoandcitedwhenestablishingaprecedenttocontemporarycombinatoricsystems,fewdetailsareknownontheworkingsofthisdeviceandevenfewercomposersandartistshaveactuallyexploredtheArcaindepth.Thispresentationattemptstofillthegapbetweenwhatiscommonlyknownaboutthissystemandtheactualityofhowitwasusedandhowitcanbere-discoveredtoday.ZimasaGYSMAN(FR) ParisCollegeofArt

MachinesHackingHumans—PerformancePracticesinElectronicMusicduringthe21stCentury Track7

ABSTRACTThispaperassessesthehistoryofelectronicmusicanditsperformancetoillustratethatmachinesandtechnologyhavelargelyinfluencedhowhumansperformelectronicmusic.Thehistoryofelectronicmusicmainlyfocusesonthecompositionandproductionofelectronicmusicwithlittletonoattentionpaidtoitsperformancebythemajorityofscholarsinthisfield.Therefore,establishingahistoryofperformanceinvolves


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investigatingwhatcompositionsofelectronicmusiccalledforintheproductionofanelectronicmusicperformance.Thisinvestigationintoseminalworksinthehistoryofelectronicmusicthereforehelpedtoillustratetheaestheticsofelectronicmusicperformanceandtheaestheticsestablishedintheverybeginningsofelectronicmusicperformanceillustratetheaestheticsofelectronicmusicwhicharestillprevalenttoday.Thekeyaestheticsaretherepurposingoftechnologyandthehybridisationoftechnology.Performerstakefamiliartechnology(technologythatsocietyhasbecomeaccustomedtousingindailylife),notnecessarilyrelatedtomusicorperformanceanduseitasaninstrumentintheirperformances,suchasarotarydialtelephone.Likewise,sincethebeginningsofelectronicmusic,producershavealwaysexperimentedwiththelatesttechnologiesavailabletothemintheircompositionsandperformances.Thespiritofperformersofelectronicmusicthereforerevolvesaroundrepurposingfamiliartechnologiesandusingtheminnewways,whilstsimilarlyexperimentingwithnewtechnologiesintheirperformances.Thisprocessofhybridisationplaysakeyroleintheproductionandperformanceofelectronicmusicinthetwentiethcentury.Throughvariousinterviewswithperformersofelectronicmusic,itisshownthattheseaestheticsaredrivingperformancepracticesinthetwenty-firstcentury.NigelHELYER(AU) JonDRUMMOND(AU)Director,SonicObjects:SonicArchitecture NewcastleUniversity

HeavyMetalandtheOratorio Track6

ABSTRACTThispaperexploresdifferentapproachestothesonificationandvisualisationoftwoenvironmentalprojects:“HeavyMetal”(Australia2016)isfocuseduponthereal-timeanalysisandsonification/visualisationofthechemicalelementsinapaintingviaacameravisionsystem.1“OratorioforaMillionSouls”(Netherlands/Germany2018)concernsthebehaviourandacousticpropertiesoflivebeecoloniesandthecreationofreal-timemulti-channelsoundcompositions.2Whilstthesetwoprojectsdifferintermsofmethodology,aestheticsandtechnicalapproachtheybothshareadirectconcernwithadeepanalysisoftheunderlyingenvironmentalstructuresandperceptualframeworksthatemergeindirect‘live’encounters-ononehandthediscoverofwhatliesbehindthesurfaceofapaintedimageintermsofchemicalandcolourstructures,andinthecaseofOratorio,acompellingimmersionintotheacousticenvironmentofBees.1www.sonicobjects.com/index.php/projects/more/heavy_metal2www.sonicobjects.com/index.php/projects/more/oratorio_for_a_million_soulsMeganHINES(US) StonyBrookUniversity,SUNY

Sex,Labor,andAudioTape:LynnHershmanLeeson'sBreathingMachines Track6

ABSTRACTThispaperexploresLynnHershmanLeeson’suseofaudiotaperecordersbeginningin1965andcontinuingintothepresentday.Iconsiderhersoundworksasafeministcritiqueofscience,particularlythetechnologizationofreproductivemedicineinthesixtiesandseventies.Arthistoricalscholarshiphasbeenslowtoaddressthehistoryofsoundart,andevenslowertorecognizehowcrucialsoundwastothedevelopmentofalternativeexhibitionpracticesandinstitutionalcritique.IarguethatHershmanLeeson’ssoundworksofthelatesixtiesandearlyseventiesilluminateapivotaltippingpoint,whenfeministartistsreactedagainstthefiascothatwasMauriceTuchman’s1971"Art&Technology"exhibitionatLACMAandexploredalternativestotheartandtechnologynarrativeperpetuatedbyandwithinmuseums.ForHershmanLeeson,soundartchallengedtheauthorityofboththemuseumandthemedicalestablishment.InherseriesofBreathingMachines,HershmanLeesoncombinedwaxcastingsofherownfacewithtaperecordingsfeaturingherbreathandvoice.Throughcommercially-availablesoundtechnology,theBreathingMachinesextendedolderhopesandworriesaboutworkandtechnologyintothesexualdomain.BuildingonCatherineWaldby’snotionofbiovalue,Iconsidertheseworksinconversationwiththeshiftingworthofwomen’slaborinrelationtocutting-edgereproductivetechnologies,includingartificialinsemination,invitrofertilization,andartificialwombs.WhileShulamithFirestonelookedforwardtotest-tubebabiesfacilitatingwomen’sliberationfromtherepulsiveoppressionofpregnancy,otherslamentedtheforfeitureofwomen’sgreatestpower,themysticalabilitytoproducelife.FollowingKatherineHayles,Ishowhowthespecificaffordancesoftaperecordersestablishedacomplex


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relationshipbetweentheartistasproducerofsoundandasrepresentedbysound,prefiguringlaterposthumanistandcyberfeministconcernsaboutthetargetederasureoffemininebodilyidentityintheInformationAge.VaninaYaelHOFMAN(ES) PauALSINA(ES)Taxonomedia UniversitatObertadeCatalunya

PerformingtheMigrantsArchive:ACaseStudy Track3

ABSTRACTNowadays,whenthevoicepowerfullyre-emergesasaninterfaceforcommunicationwithcomputersandotherICTs,thequestionofsound’smaterialdimensionanditsrelationtothesymbolicandthecommunicativeappearsstrongly.Butalso,whentechnologicalobsolescenceexpandsandoblivionspreads,theneedtore-thinktherelationwithmatterandmemoryconnectswiththeneedtore-enactthearchivesofourpast.Migrantsisasite-specificartworkcreatedbyBoltanskiinstalledattheImmigrantsHotel(BuenosAires).Theartworkplayswiththetacticof‘performingthearchive’conceptualizedbySimoneOsthoffinordertore-activatethememoryofthethousandsofpeoplethatlivedattheHotelduringtheXIXCentury.TheImmigrantsHotelwasaplaceofarrivalofmanypeoplefromallaroundtheworld.Migrantsiscomposedbythreepieces,thefirstofwhichcalledspeciallyourattention.BoltanskiselectedsomefilesfromthearchiveoftheImmigrantsHotel(immigrantsnames,surname,age...),andproducedaround200voicerecordsmadebypeopleofdifferentageswhoreproducedorallytheabovementionedinformationinthemothertongueofeachimmigrant.Attheinstallation,visitorscouldheardthesevoicesrootedinafoggyspace,sometimesinsuccession,andothersoverlapped,emergingfromdifferentandever-changingdirections.ThroughBoltanski’sinstallation,thevisitorrecalls,re-constructs,imagineand/orexperiencethepastthroughthevoicesinadivergentwaythanaccessing/readingthetextfiles.Visitorsareinterpellatedtoreflecton(contemporary)migrationbythewhispersofthepast,materializedassoundfilesofthepresent.Atthesametime,intheprocessofcreatingtheartworkanewarchivehasborn.Onethattriggers-andenable-divergentpractices(followingStengerscosmopolitics)ofmemoryandoblivion,onethathelpsustopracticeandtheorizesound’saffectiveintensities(touch,force,envelopment).ClaireM.HOLDSWORTH(UK) UniversityoftheArtsLondon

SchizophonicStates:TheVentriloquialVoiceinBritishArtists’FilmandVideoofthe1970sand1980s Track3

ABSTRACTDespitetherelativelynewemergenceofsound/sonicartsasagenreinartinrecentyears,intermedialandhighlyexperimentalartisticpracticeshavereformedandrecordedvoicesforanumberofyears,usingsoundasavehicleforactivatingmemoryandpoliticalagency.Speaking-outandlistening-inareimportantmodesofengagementthatarebothchannelledandsubvertedinexperimentalartists’movingimage,particularlyin‘expanded’performance-basedartworksmadeintheUKfromthelate1970stolate1980s.Thispaperwillexploretheimportanceofsoundandthevoiceintape/slidepractices,whichemergedinthelate1970sasaformofexpandedperformancethathadresonanceforfeminist,BlackandactivistpracticesintheUK,duringatimewhentechnologicalchangecatalysedradicalnewapproachestorepresentationsofselfandsociety.Drawinguponrecentpost-docresearchintotheintersectionsbetweenexperimentalsound/musicandartists’movingimageatthistime,thispresentationwillconsiderthe‘performativeafterlife’ofrecordedmaterialinrelationtothearchive.Discussingthe‘splitconditions’ofthevoiceviasoundtheory,thepaperwillexplorethedualbalancebetweeninterviewingpeoplefromthistimeandexploringartworksthatusethespokenvoice,includingvisuals,audiosamplesandshortclipsrelatingtoaseveralexampleartworkssuchastheworkoftheFeministImprovisingGroup(FIG)andBlackAudioFilmCollectiveamongstothers.The‘performativeafterlife’ofrecordedutteranceandexplorationofwritingsbyStevenConnor(2000)andMladenDolar(2006)willframere-examinationofqueer,feministandactivistapproachestohistorywritingandmaking,consideringhowintersectionalthemescloselyconnecttotheantiphonaldynamicsoftherecordedvoice.Byexploringhowartistshavere-engagedwiththeirworkovertimeandre-enteredconversationsfromandaboutthepast,thepaperwillconsiderhowhistoryistranslatedbythemediums–whetherwrittenortechnological–throughwhichtheyreachustoday(Hayles,2000).


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RasmusHOLMBOE(DK) MuseetforSamtidskunst

TheInstitutionalSituationofSo-calledSoundArt Track5

ABSTRACTThispaperexamineswhatmighthappenifweshiftourtheoreticalandcuratorialperspectivesfromso-called“soundart”asanalreadyinstitutionalizedcategorytoamorefluentandinclusivefocusonartisticpracticethatinvolvessound.Theformationofacriticaldiscoursearoundsoundartduringthepastthreedecadesistiedtoacomplexhistorythatvariouslyincorporatesitssubjectwithinandpositionsitagainstthehistories,institutionsandtheoreticalapparatusesofmusic,thevisualarts,mediaartandtheperformingarts(tonameafew).Despitethismixedheritage,discourseonsoundartmostoftencentresaroundrathernarrowandtraditionalconceptsoftheartworkasarelativelyautonomousanddiscreteunitofmeaningfixedwithintheinvestigationofsoundasanartisticmedium.Concomitantly,specializeddiscoursesonlisteningasapracticethatdistinguishesitselffromvisualortextualapproacheshavebeendeveloped.However,thesediscoursesoftenfailtoexaminehowtheyareaffectedbyandpredicatedupontheconditionsandconventionsofthevisualartsinstitutionstheyoperatewithin.Thelackofcriticalexaminationsofhowthecomplexrelationtotheso-calledwhitecubehasbecomepartoftheinstitutionalizationofsoundartisatypicalexampleofhowtheculturalcontextofsoundart’spresentationhasbeenneglectedinfavorofastrictfocusontheartworkandthelistener.TakingmyworkatTheMuseumofContemporaryArtinRoskildeasapointofdeparture,mypaperexaminessituationsinwhichweencountersoundinthegalleryspace.Iarguehow,inthiscontext,bothartisticpracticesthatinvolvesoundandactsoflisteningadoptandadapttothenormativeconventionsofvisualartsinstitutionsandthusneedtobeperformativelynegotiatedagainstthisbackdrop.JannaHOLMSTEDT(SE)

TheBlowhole Track8

ABSTRACTIwantedtolistentothetaperecordings.Acraveto"bethere",acrosstimeandspace.Togovisitingthroughlistening.That'showIimaginedit.Then,IencounteredthephysicalarchiveatStanfordUniversityLibraries,116boxesand1432reelsofmagnetictape.Thehuntfortherightrecordingsbegan.ThisjourneyintoapredominantlysonicecologydepartsfromtheuniquearchivalmaterialofAmericanneurophysiologistJohnC.Lilly.Inthe1950sand1960sLillyconductedcontroversialscientificexperimentswithdolphins,aswellasonhimself.Amongotherthings,LillyandhiscollaboratorsattemptedtoteachdolphinstospeakEnglishandrecordedtheresultsontape.Iinvestigatetheseexperimentsandzoominonthesoundrecordingsthatweremadeatthe“DolphinHouse”in1965,whenMargaretHowelivedwiththedolphinPeterfor75daysinafloodedhouseinanattemptatequalco-habitationbetweenwomananddolphin.Theencounterwithananimal"voice"andtheattemptstorecordthesephenomenaassoundobjectswouldforceLillyintounchartedterritories.Whentherecordingsofwordsutteredbydolphinswereplayedbacktootherresearchers,theydidn'thearwhatLilly'steamhadheard.AsLillybeganexperimentingwithsound,itseemedasneithertechnologynorperceptioncouldbereliedon.Eventheroleoflanguageintheactofcommunicationbecameincreasinglyelusive.Soundsareleakyphenomena,pointingtotheunavoidableentanglementofbodies,technologiesandenvirons.Acapturedsoundisarecordofloss,asisthearchive.Thislossurgesme,asresearcherandlistener,tostoryandrestoryentanglements.Ithinkofthisasa/orality,anembodiedandperformativeweaving(auralandoral)thataimstocounteractadominant,reductive,visual-textuallogicanditsrelatedknowledgeformations.NicolasHOLT(CA) McGill University

HeardfromtheOtherRoom,FeltfromHere:AuralImmersionandtheEcologicallyIncompressibleinFrankGillette's“InformationEnvironments”

Track6

ABSTRACTIn1973,FrankGilletteexhibitedsix,unique,multi-channel,closed-circuitvideoinstallations,termed“informationenvironments,”withinallfourgalleriesoftheEversonMuseumofArt’supperfloor.Abrochurefortheshowexplainsthatthe“environmentsjuxtaposebiologicalandtechnologicalprocessesandsuggestthat


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man,nature,andtechnologyareallpartsofaunity.”Suchclaimsforhuman,natural,andtechnologicalunitywerecommonplaceintheecologicaldiscoursesoftheearly-1970s,butacloserlookattheinstallationspotentiallyrevealssomethingmorechaotic.Take,forexample,Terraquae,aseriesoffivePlexiglasterrariumswithclosed-circuitcamerasmountedattheirtops,containingunrulyassemblagesoflivecrickets,tortoises,tarantulas,horseshoecrabs,slimemolds,andspores,justtonamesomeofthelifeformsondisplay.InanadjacentgallerywasGestation/Growth,whereanincubatorhostedchickeneggsuntiltheyhatched,withthechicksthenmakingtheirwaytoan18ft.diametergeodesicdome,similarlyunderthewatchfuleyeofaclosed-circuitcamera.Theshowwasmeanttobringtogethermanifoldlifecyclesandcircuitthemtogetherthroughvideofeedsforhumanobservers.Importantly,analogvideoprocessesvisualandaudiofrequencieswithinthesamesignal.But,itmustbeasked,isthesoniccomponentofthesespacesfarmessierthanvideo’sinformationcouldaccountforalone?Iftheenvironmentsdoofferupanykindofecologicalunity,canwesayitisprimarilyanaural,embodied,andimmersiveunityfracturedfromwithinbythedissonantchirpingofchicksandcricketsalongsidethelow,electronichummingofcamerasandmonitors?Soundsnodoubtcomplementedbyotheranimal/machineutterancesimperceptibletothehumanear.Mypresentationseekstoask:Aretherethingsbothtechnicallyandbiophysicallyincompressibleatworkhere,uncapturedbytheaspirationofcyberneticeco-unitysoembeddedinthehistoryofearlyvideo?AncaHORVATH(DK) FalkHEINRICH(DK)AalborgUniversity AalborgUniversity

Sonoid Track4

ABSTRACTThepaperpresentstheideaandpreliminaryfindingsofanexperimentalprojectwhichconsistsofthevirtualdesignandphysicalmaterializationofaninstallation:Sonoid(sound,egg,shell).TheobjectiveofSonoidistovisualizesoundvibrationsthroughamaterialandcreateaspaceforacousticexperimentation,measurementandreflectiononthedifferencesbetweensimulatedsound,experiencedauditoryperformanceandphysicallymeasuredacoustics.Theinvestigationisinformedbythefollowingquestion:whatisthedifferencebetweenthevirtualsimulatedperformanceofastructure,thehumanexperienceofinteractingwiththephysicalproductoncebuilt,andthemeasurablebehaviorofthepiece?Additionally,wewouldliketotapintotheunexploredareaofunderstandingtherelationbetweenperceivedsoundexperience,andvisualrepresentationofsoundvibration.Doesa‘pleasant’soundproduceaseductivevisualrepresentation?Howshould‘pleasant’and‘seductive’bequantified?Theperformanceofthestructurewillbefirstsimulated(virtually),thenmeasured(throughacousticstudies),andfinallyqualified(tryingtomapandunderstandtheexperienceofpeoplewalkinginsidethestructure,talking/singingtoitandthroughitsdifferentpanelsthroughvideorecordingandinterviewsandbrainwavemapping).JaninaHOTH(AT) DanubeUniversityKrems

SoundArtandSite-specificity:CuratorialStrategiesforanAestheticofRepetition Track5

ABSTRACTFestivalshavebecomethemainmediumformediaartwith(bi-)annualeditionsofthematicallywide-rangingexhibitionsandevents.Incontrasttoexhibitionspacesatmuseumsorgalleries,festivalsareoftenheldatlocations,whichwereinitiallynotdesignedasartspaces:e.g.formerindustrialbuildings,parksandotheropenareas,offices,publicbuildings.Theirrepetitivepatternofexhibitingattheseparticularlocationscreateanewkindofsite-specifity.Especiallyinregardtotheirexperience,soundartworksintheirephemeralcharacteristicbecomeembeddedintheselocations,andproduceanewartworkandexperiencewitheveryinstallment.Thesitespecificityintermsofitsmeaning-makingforidentityandlocalityiscombinedwiththeoftenmediumandtechnologycenteredaimofsoundartworks.Since2015,theArsElectronicaispartlyheldatthe”PostCity”,aformerpostdistributioncenterthatismainlyemptyfortherestoftheyear.In2015-2016,whenLinzbecameacenterforrefugeesontheirwaytoGermanyandScandinavia,thecenteralsoservedasrefugeecamp.The1990sarchitectureinthelargeindustrialcomplexreflectsamainfocusofthefestivaloninnovativeindustrialproductionsbasedonartisticpracticesandscientificresearch.Onemainexhibitionisheldat”Bunker”inthebasementfloor,whereeveryyear,soundartinstallationsarepresentedataspecific,seeminglypre-destinedlocationwithanidealacousticsurroundingandatmospheretocuratoriallypresenttheseworks.Their


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ephemeralityiscontrastedwiththeappearanceandnarrativeofthesite,creatinganaestheticofrepetition.Inmypresentation,Iwanttoinvestigatethecuratorialstrategyofthesesoundartinstallationsandquestionwhethertherepetitiveschemeofexhibitingsoundartworksononeparticularlocationcancreateanewkindofarchivalaesthetic.JuntingHUANG(US) Cornell University

TheBuddhaMachine:VibrationalOntologyinChineseSoundPractice Track7

ABSTRACTInrecentyears,ontologicalinquiriesintotheaestheticexperienceofsound--orwhatBrianKanecalled"onto-aesthetics"--haveperhapsbestexemplifiedthevibrantintersectionsbetweensoundstudiesandNewMaterialism.BeitSteveGoodman's"anontologyofvibrationalforce,"GregHainge's"anontologyofnoise,"orChristophCox's"asonicmaterialism,"anaturalistmaterialismisoftencalledfortoexplaintheacousticenergyofsound.Inworksofart,theyarguethataestheticexperience--bodilyaffectinparticular--reliesonanontologicalrevelationofsoundasamaterialinflux.Meanwhilehowever,therehasbeenresistancefromwithinsoundstudiesscholarship.BrianKane,forexample,havearguedthatsocioculturalcontextandtechnologicalmediationsstilldetermineourunderstandingsofacousticvibration.Inthewakeofthistheoreticaldisjunction,howdoesanotionasvibrationhelpusunderstandtheaffectiveforceofsound?Thispaperre-examinesGoodman'svibrationalontologyinaculture-specificfashion.Inparticular,itfocusesontheBuddhaMachine,aplasticboxthatintonesrepetitiveambientmusic.InspiredbyBrianEno'sexperimentwithtapemachinesandtheChineseBuddhistchantinggadget,thedevicehingesuponthenotionofvibration,which--asIargue--providesnotonlyaphysicalspaceforbodilyresonance,butmoreimportantlyaconceptualspaceforauto-affection.Indoingso,Idemonstratethewaysinwhichthematerial-affectiveturninsoundstudieshasevolvedintandemwithculturalcontextualization-forexample,ChineseartcriticWangJing'srecentproposalofaffectivelisteningaswellasChineseartistYanJun'sreadingofBuddhistphilosophicaltextsincluding"OntheAbsenceofEmotionsinSound"and"MeditationontheOrganofHearing."JuriHWANG(US) UniversityofSouthernCalifornia

SkidRowSopranos:MutingandAmplifyingtheSonicityofHomelessnessthroughSonicInterventions Track7

ABSTRACTSociallyengagedart,aspioneeredbyFluxusandtheSituationistInternationalandcontinuedbygroupsliketheCriticalArtsEnsemble,hasbecomeafirmlyestablishedpracticeinthecanonofFineArts.However,ithasrarelycrossedoverintotheartisticcanonof‘highbrow’music.Thepracticeofmusicalinterventionsinsocialspacethatleavestheconcerthallandparticularlyengagesinencounterswithdifferentsocialbodiesiscomparativelyrecentandcametowideracclaimwithinitiativessuchas“ElSistema”inVenezuelawithitsmotto‘musicforsocialchange’andvariousYouthOrchestrasbasedonsimilarconcepts.TherecentMacArthurGeniusGrantawardedonVijayGuptahforhisworkwiththenot-for-profitinitiative“StreetSymphony,”whichfocusesonSkidRow,anareaofconcentratedpovertyandhomelessnessinDowntownLosAngeles,toprovide“musicalenrichmentandvaluablehumanconnectionto[…]under-resourcedcommunities,”isanindicatorthatsocialinterventionsarebecomingmoreacceptedalsointhe‘highbrow’musicworld.Theattentionfocusedbytheprestigiousawardonsocialengagementthroughmusicinspiresotherartiststostagetheirowninterventionsandclaimtheirpartinthesocialcapitalconnectedtosuchaction.Thispaperdiscussestheviolentclashesbetweenthevoiceofanoperasopranoandthescreamingfromphysicalandmentalpainsofahomelessperson.SuchclashwasobservedinanimpromptustreetoperastagedbyasopranosingerappearinginthestreetsofSkidRowcladinanorangecocktaildresswithasmallteamofcameraandsoundpersons.Thepaperexaminesthedistancebetweenthetwosocialbodiesinvolvedinthisencounterbyanalyzingtherespectivesoundscapesandbydiscussingtheconceptualandculturalcontextandhowsuchinterventionsmightratherincreasethanclosethegapbetweenthetwosocialbodies.


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FilipJANKOWSKI(PL) JagiellonianUniversity

DemagnetisedDiskettes,DisappearingArchives:TheChallengesofVideoGamePreservation Track8

ABSTRACTRecently,underthreatofbeingsuedbytheNintendocompany,theadministratorsoftheEmuParadise.mewebsitewereforcedtoremovealldisksintendedforgameemulation(Coldewey,2018).ThelargestgamearchiveontheInternetwasclosedforlegalandeconomicreasons,leavingroomforfurtherharassmentofoldgamerepositories.FollowingMariaGarda’sstatementthatvideogamesshouldbetreatedasaformofculturalheritage(Garda,2014a),Iwouldliketotracetheprocessofre-capitalisingso-calledabandonware.Fromtheearly1980s,videogameshavealwaysbeencrackednotonlyfortheneedsoftheblackmarketbutalsotopreservethemforfuturegenerations.Astheoriginalanalogousdiskettes,cartridges,andcompactdiskshavenotsurvivedforthemostparttothisday;theircrackedversionsbecametheonlyvaluabledigitalsourceswhichallowedthefuturegenerationstoknowtheircontent(Garda,2014b).However,thefree–althoughinmostcasesillegal–accesstooldsoftwarebecomesincreasinglylimited.Despitetherecenttendencytore-releasethemostpopulargamesonretroconsolessuchasPlayStationClassicorNESClassic(GameCentral,2018),therestoflessknowntitles–withoutcopyright-holdingdistributors–arebeingcondemnedforoblivion.Inasituationwhenthelargestvideogamecompaniestrytocapitaliseeverynewgame-relatedcontent(fromDLCstoseasonpasses)andre-releases,theloudlyannouncedread/writeinternetculture(Lessig,2008)isthreatenedtoevaporate.AlthoughtheInternetArchivewebsitehasrecentlymadeanefforttouploadolddigitalgamesandallowuserstoplaythemonline,thiseffortcouldnotbesufficientenoughtopreserveabandoned‘playableartefacts’(Leino,2012).Therefore,theculturalinstitutionshavetofindacompromisebetweencopyrightsofvideogamecompaniesandmakingaccesstothoseartefactseasierforusers.ReferencesColdewey,D.(2018).RIPEmuParadise,ahavenforretrogamersforalmosttwodecades.Retrievedfromhttps://techcrunch.com/2018/08/08/rip-emuparadise-a-haven-for-retro-gamers-for-almost-two-decades/GameCentral.(2018).PlayStationClassicconsoleoutthisChristmaswith20games:FinalFantasyVII,Tekken3,andmore.Retrievedfromhttps://metro.co.uk/2018/09/19/playstation-classic-console-out-this-christmas-with-20-games-final-fantasy-vii-tekken-3-and-more-7958653/Garda,M.B.(2014a).Grykomputerowejakodziedzictwokulturowe.Replay:thePolishJournalofGameStudies,1,119–128.Retrievedfromhttp://dspace.uni.lodz.pl:8080/xmlui/bitstream/11089/8883/1/12%20Garda.pdfGarda,M.B.(2014b).NostalgiainRetroGameDesign.InDeFraggingGameStudies.Retrievedfromhttp://www.digra.org/wp-content/uploads/digital-library/paper_310.pdfLeino,O.T.(2012).DeathLoopasaFeature.GameStudies,12.Retrievedfromhttp://gamestudies.org/1202/articles/death_loop_as_a_featureLessig,L.(2008).Remix:MakingArtandCommerceThriveintheHybridEconomy.London:BloomsburyAcademic.Retrievedfromhttp://www.doabooks.org/doab?func=fulltext&rid=14351AgnieszkaJELEWSKA(PL) MichałKRAWCZAK(PL)AdamMickiewiczUniversity AdamMickiewiczUniversity

SoundingNecropolitics:BeyondHumanHistory Track6

ABSTRACTThepresentationaimstoreflectonthepossibilitiesofusingtoolsfromsoundstudies,suchassoundwalk,soundarchive,andconceptsfrombioacoustics(M.Gagliano)andposthumanism(L.Irigaray,J.Bennett),tostudyanddocumentaudiosphereofplacesconnectedwithborderlineeventsthatareinvolvedintheconstructionofsocialtraumaandbecominganelementofspecificnecropolitics(A.Mbembe,E.Domańska).Thetextwilldrawontheresearchandartisticexperimentsconductedsince2017bytheauthorsaspartoftheHATResearchCenterandtheLaboratoryforExperimentalMedia,inco-operationwithaninterdisciplinarygroupofresearchersandartists.WeareparticularlyinterestedintheLakeRusalkaareainPoznan,Poland,whichwascreatedaspartofaNaziplan–implementedin1941–toproviderecreationalfacilitiesfortheGermanpopulationwhohadbeenresettledtothecityofPoznan.JewishprisonersfromvariousEuropeancampswerebroughttoPoznantoworkontheproject,theirtaskbeingtocleartheforestanddiganartificial


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lake.Manyofthemdiedofexhaustionand/ordisease,andwhentheplanwassuspendedin1943duetotheliquidationoftheforcedlaborcampsintheregion,thesurvivorsweresenttothedeathcampsatAuschwitz-Birkenau.Thepolicyadoptedbythecommunistauthoritiesinpost-warPolandensuredthatlakedevelopmentprojectwascompleted,and,atthesametime,thatitsoriginsasaNaziforcedslavelabourprojectwereconcealed.Ourtaskistocreateasoundarchiveofthisplace,capturingthreesoniclayers:onthefirstlevel,asaplaceofrecreationandentertainment,combinedwiththeacousticactivityofthenon-humanbeingslivingthere;onthesecondlevel,asaspaceinwhichurbansoundscomingfromnearbydistrictscanbeheard;andonthethirdlevel,astheaudiosphereatthebottomofthelake,whichisinaudibletothehumanear.Inthisprojectweareexploringthepossibilityofcreatinganarchivebasedonthesonicremainsofbothhumanandnon-humanactors,withitsdynamic,vibrating,discontinuousstatussuspendedbetweenthenecropoliticalpastandfuture.KazuhiroJO(JP) PaulDEMARINIS(US)KyushuUniversity;YCAM StanfordUniversity

Re-visitingtheCommonSenseofSoundReproduction Track4

ABSTRACTInthistalk,wewillrevisitthefoundationoftechnologiesinsoundreproductionthroughourartpractice.AsJonathanSternenoted,therewereincompletenessesinthestoriesoftheinventionofsound-reproductiontechnologies[Sterne,2003].Wecouldeasilydismissthepossibilitiesaroundthetechnologies.However,therealitiesaremorethanthetales.Withthehelpofafewmoderntoolssuchasmodulationnozzles,specializedtransformer,cuttingplotter,laserpointer,neodymiummagnet,andofficeprinter,wecouldreinventthetraditionaltechnologiesovercenturiesinthisageofpost-digitalofthe21stcentury.Withaformofmusicandvoicefromwater,fire,paper,wax,orimprintwedescribethechallengesinourartpracticeinrelationwithprinciplesofthesoundreproductiontechnologiesaswellashistoricalcontextsofthework.UllaAngkjærJØRGENSEN(NO)* NorwegianUniversityofScienceandTechnology

AnAestheticsafterConceptualism Track1

ABSTRACTInherownwording,NorwegiansoundartistJanaWinderenisdescribingthematerialbodyinasurroundingenvironmentwhenshesaysthat,“Thesensoryimpressionofsoundisveryphysical.Dependingonthematerialsaroundyou,youcanfeelitinyourbones,orasasensationinyournostrils,orvibratingunderyourfeet.”ThecombinationofaugmentedrealityandstrangenessinherdigitalsoundscapeTheWanderer(2015)doespreciselythat,itmovesyouintosensingyourpresenceinaspecificenvironmentinwaysyoucouldn’tpossiblyhaveknownbefore,yetitisanowhere.Itdoesnotleanonthegallerytoproveitisart;itcanjustaswellbelistenedtoanywhereyougowithyouriPod.Itsplaceisthesensingbody.WorkslikeTheWanderermayhelpusformulateanaestheticsafterconceptualism.*SpeakersponsoredbytheNordicCouncilofMinistersandtheNordicCultureFundDavidKADISH(DK) ITUniversityofCopenhagen

AutonomousAuditoryAgentsinaForestGardenSoundscape Track6

ABSTRACTSoundscapestudiesofanimalhabitatsandecosystemstypicallydistinguishbetweenthreesourcesofsound(Krause,2008):biophony,soundsproducedbyanimals,plants,andotherbiologicalentities;geophony,soundsproducedbynon-livingfeaturessuchaswaterorwind;andanthrophony,soundsproducedbyhumansandhumantechnology.Often,studiesofsoundscapesacrossacademicfieldsprivilegethebiophonicandgeophonicovertheanthrophonic,referringtoanthrophonicsoundsas‘noise’andbiophonicsoundas‘music’whileimplyingthattheanthrophonicsoundisalientothesoundscape(Krause,2008;Schafer,1977).Recentwritinginthefield,however,hasbeguntoassessthisalignmentmorecritically(Lyonblum,2017).Inanexperimenttoprobetherangeofrelationshipsbetweenbiophonicandanthrophonicsoundinahybridecosystem,an


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autonomousauditoryagentisintroducedintoaforestgardenecosystem.Theforestgarden–aformofpermaculturethatmimicstheplantcommunitystructureofatemperateforest–isalreadyacousticallydiverseandtheintentbehindthedigitalagentisnottodisruptthesoundscape,buttointegrateintoit.Theautonomousagent,permanentlyinstalledintheecosystemonasolar-poweredsingleboardcomputer,beginsbysilentlylisteningtothesoundscape.Asitbecomesfamiliarwiththesoundscape,itengagestheAcousticNicheHypothesis(Krause,1987)todevelopitsownvoice.TheAcousticNicheHypothesisisatheoryinthefieldofsoundscapeecologywhichpositsthatsoundscapeinhabitantspartitiontheauditoryspacebyfrequency,time,andlocationsuchthateachspeciesisabletocommunicateinarelativelyuninhibitedmanner.Often,anthropogenicsoundsoccupyanalreadysaturatedportionoftheaudiospectrumand,indoingso,disrupttheexistingnichestructure(Pijanowski,Farina,Gage,Dumyahn,&Krause,2011).Asamodeofinhabitingtheecosystem,theautonomousauditoryagentinthisexperimentidentifiesunderusedtemporalandspectralregionsofthesoundscapeanddevelopsvocalizationstomarkitsacousticterritory.Thepaperexamineshowthisnewvoiceimpactsthesoundscapeoftheforestgardeninparticularanditsecologymoregenerally.Itincorporatessoundscapemeasurementsandecologicalobservationstounderstandtheimpactofthisinvasivedigitalspecies.BibliographyKrause,B.L.(1987).Bioacoustics,HabitatAmbienceinEcologicalBalance.WholeEarthReview,(57),14–18.Krause,B.L.(2008).Anatomyofthesoundscape:Evolvingperspectives.AES:JournaloftheAudioEngineeringSociety,56(1–2),73–80.Lyonblum,E.Z.S.(2017).AnOmnivorousEar:TheCreativePracticeofFieldRecording.UniversityofCambridge.https://doi.org/10.17863/CAM.12135Pijanowski,B.C.,Farina,A.,Gage,S.H.,Dumyahn,S.L.,&Krause,B.L.(2011).Whatissoundscapeecology?Anintroductionandoverviewofanemergingnewscience.LandscapeEcology,26(9),1213–1232.https://doi.org/10.1007/s10980-011-9600-8Schafer,R.M.(1977).Thetuningoftheworld.A.A.Knopf.AskKÆREBY(DK) MajHASAGER(DK)

SoundingPico Track3

ABSTRACTSoundingPicoisanartprojectfocussingonthePico-neighbourhoodinSantaMonica,CAintheUSA–developedincollaborationbetweenvisualartistMajHasagerandelectroniccomposerAskKærebyduringourstayintheareaduringwinter2018-19.TheneighbourhoodwasmuchlargerandwasanimportantAfrican-AmericanenclaveontheWestside,butwhentheSantaMonicaFreewayopenedinthe1960s,itresultedinthedestructionofmanyresidencesandtherelocationofalargenumberoffamilies.ItisthemostethnicallydiverseareaofSantaMonica,butthisdiversityisunderthreatastheareaisrapidlybecominggentrified.ThePiconeighbourhoodhashighercrimeratesthantherestofthecity,andTheCityofSantaMonicahasbeenaccusedofignoringthePicoDistrictinthepast,particularlywhenitcametoissuesregardingcrimeandgangactivity.Inresponsetotheoften-mediatedimageofatroubledareawithopportunitieslost,ratherthangained,countermeasureshavebeentaken–perhapsmostnotablybytheculturalassetdatabaseCultureMapping90404(http://culturemapping90404.org/).Wetookthisasapointofdeparture,inanattempttosupplementwiththeperspectivesofyoungergenerations,whoseinvolvementinthesemattershavebeenlimited.Wehaveinvitedanumberofyoung,localresidentsandmusicianstorecordcharacteristicsoundsofthearea(bothaudioandvideo),whichwilllaterbeinterpretedonacousticinstrumentsandeditedtogether.Theseelementswillbemadeavailableonlineaspartofasoundwalk,forwhichapubliclyavailableguidedtourwillbearranged.Bybringingforwardtheseyoungmusiciansaslocalresources,aswellastheirearforlocalsoundmarks,weaimtoshineadifferentlightonthearea,andtosupplementandfurtherthedebate.TomotaroKANEKO(JP) TokyoUniversityoftheArts

MakingPastArtworksResound:JapaneseArtSoundArchive Track8

ABSTRACTThispresentationaimstoprovideanoverviewoftheJapaneseArtSoundArchiveandshowcasesrecordingsamplesofreproducedworks.InpostwarJapan,visualartistscreatedanumberofworksthatemittedsounds.


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However,mostofthemcannowonlybeseeninphotographs.Inmanyinstances,neitherthesoundsnortheirwaysofsoundingarethoroughlydescribedbythevisualrepresentationsandtheirexplanations.TheJapaneseArtSoundArchiveisaprojectthatattemptstoreproducethosepastartworkssoastomakethesoundsaudibleagain.Inthisendeavor,theorganizers,TomotaroKanekoandMinoruHatanaka,haveresearchedtheartworksindetailandaskedtheartiststoreproduceorreenactthesounds.Alternatively,theorganizersrecreatedartworksbythemselvesonthebasisofresearchandwiththepermissionofthecopyrightholder.Moreover,theyhavediscoveredandaccessedtherecordingsofpastartworksandcreatedvinylrecordsandcassetteeditionsfromthem.TheJapaneseArtSoundArchivehasalreadyorganizedtwosoloperformanceevents,foursoloexhibitions,andoneretrospectiveexhibitionbetweenJanuaryandJune2018.Itcontinuesitsresearchforthenextevent.ArtistsfeaturedintheprojectincludeKosaiHori,Ken-ichiroIna,FumioTakamizawa,HitoshiNomura,TetsuyaWatanabe,MorihiroWada,andGreatWhiteLight.Allthefeaturedartworkswerecreatedintheearly-tomid-1970sandutilizedsoundreproductiontechnology.Ineacheventandexhibition,theArchivehasproducedaleafletwiththeartist’sessayandtheorganizer’sreportoftheworkanditscontext.Inadditiontodiscussingthelessonslearnedfrompastartworksinthisproject,thispresentationwilladdresswhythisprojectconcentratesonworkscreatedinthe1970s,andthesignificanceofreproductionorreenactmentofpastartworks.Furthermore,itwilloutlinetheproject’sfutureplans.MiJungKANG(KR) SeoulNationalUniversity

TheSoundofShamansintheWorksofNamJunePaikandEarlyKoreanVideoArtists Track1

ABSTRACTKoreanshamanisttraditiongaveNamJunePaik’sworksuniquesonicfeaturesthatmadethemofcharacteristicallyAsianorigin,whilewesternmusicalbackgroundprovidedaudio-visualtechniquestohim.InsightsfromArnoldSchönbergandJohnCageledPaiktoaseriesofexperimentswithvarioussoundsandactionsinacertainperiodoftime.ItseemsundoubtedlytruethatPaik’sworkingatWestGermanRadio’sstudioforelectronicmusicmotivatedhisinitiatinganewartform,videoart,andinventingavideosynthesizerwithShuyaAbeinthelate1960s.Besideshiscontactswiththegurusofmodernmusicandhightechnologyofmasscommunication,Koreantraditionalshamanismdeeplyaffectedhisartisticcareer.MarksofKoreanshamanismcouldbetracedfromPaik’searlyworks,forinstance,hisfirstvideoartexhibition,<ExpositionofMusic-ElectronicTelevision>(1963)withthebleedingbull’shead.PaikdrewananalogybetweenFluxushappeningsandKoreanexorcistrituals,becausebothareperformancesforcommunicatingwiththespectators.Paik’sidentityasanAsianwasrevealedinaseriesofshamanistperformancecoupledwithdestructiveAvant-gardegestures.Interestinglyenough,someofearlyKoreanvideoartistssharetheshamanistfeaturesofPaik’sart.AmongthemareHyunKiPark,HaeMinKim,KeunByungYook,ChanKyungPark,etc.TheywereinfluencedbyPaikwhenstartingtheirperformanceandvideoartlikeotherwesternmediaartists.But,withoutmusicalbackgroundsandexperiencesofwesternlife,theearlyartistswhohadsetoutthenewmediaworksinKoreafeltaudio-visualimagesonTVanalogoustotheinvocationofspiritsinKoreanshamanistrituals.ItwasnotbyaccidentthatHaeMinKimandChanKyungParkwereattractedtothesoundsandimagesofKoreanexorcistrituals.IthinktheyallagreedwithPaikthatartistsareshamansorspiritualmediumsconnectingspectatorsandtheinvisibleworld.Inthispaper,distinguishingfeaturesofsoundintheearlyKoreanvideoartwillbeexploredandthesoundofexorcistritualsanditsroleintheworkswillbeoneofthemainconcerns.RaivoKELOMEES(EE)

EstonianAcademyofArts

TheGazeoftheArtworkandtheSymbioticInteraction Track4

ABSTRACTThegoalofthispresentationistodiscussandanalyseviewer-sensitiveartworksandthereversedsituationintheexhibitionspacewhereartworks‘look’attheviewer.ToanswerthesequestionsIfirstlylookedatthetopicsofmachinevision,computervision,biovisionandtheevolutionofvision.Dividinginteractiveartworksintofourcategories(distant,contact,chance-basedandbio-based/symbioticinteraction)enabledmetoillustratedevelopmentsinfeedbacksystemswhichbecameevidentinrecentdecades.


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VadimKEYLIN(DK) AarhusUniversity

Non-humanParticipationinSoundArt:Robots,Creatures,NaturalForces Track6

ABSTRACTTheideaofparticipatoryart,engagingtheaudienceincreativeprocesses,hasundergoneincreasinginterestinrecentdecades.Participationhasalsoalwaysbeenanimportantaspectofsoundartpractice,goingbacktothepioneersoftheartform,liketheBaschetbrothersorMaxNeuhaus.Inmypaper,Iposethequestionofwhetherthenotionofparticipationandparticipatoryartcanbeextendedtonon-humanactors:robots,animals,naturalforces.ThestartingpointformyinvestigationisCelesteBoursier-Mougenot’sseminalwork“FromHeretoEar”–aninstallationofelectricguitarsinadvertently“played”byzebrafinches,carryingouttheirdailylifeactivitiesinthework’senvironment.Itwouldbeeasytoregardthisworkinthecontextofaleatoricorchanceoperationstradition,butsuchanapproachwouldignoretheagencyofthebirdsascreaturespossessingfreewillandlisteningcapabilities.If,however,participatoryopticscouldbeappliedtoworkslikeBoursier-Moughenot’s,suchanextensionoftheconceptshouldalsobegrantedtoinanimateactors,suchasJoeJones’music-performingrobotsornaturalforces,activatingMaxEastley’sAeolianharpsandflutes.Whileatfirstglancetheseworksmoveevenfurtherawayfromhumanparticipation,theyshareasimilarstructurewith“properly”participatorysoundartpieces.Bothtypesofartworksrelyonthedelegationofsound-makingagencyfromtheartisttoamultitudeofoutsideactors,whetheranimateornot.Thus,inmypaper,IapproachtheseactorsasIwouldhumanparticipantsandattemptanethnographyofnon-humansound-makinginsoundart.RahmaKHAZAM(FR)

OutofEarshot,OutofMind,theTribulationsofObject-orientedSound Track7

ABSTRACTCansoundexceedhumansubjectivity?Doesitnecessarilyexistonlyinrelationtoalistenerorisitamind-independententityorevent?InthispaperIshallexploreanumberofphilosophicalapproachesthatpositamind-independentworldindifferenttohumansandendeavourtoapplythemtosound.Object-orientedphilosopherGrahamHarmanforinstance,makesadistinctionbetweensensualandrealobjects,whichwecouldalsoapplytosound:audiblesoundmaybedescribedasasensualobject,insofarasitisdependentonbeingheard,whileinaudiblesoundsuchasinfrasoundcouldbesaidtoresemblearealobject,insofarasitexistsbutcannotbeheard.IwillalsodrawonthewritingofLeviBryant,whotakesintoaccountthetemporalityofsound:inTheDemocracyofObjects(2011),hepointsoutthatallobjectshavetheirowndurationandspatialityandconstituteeventsthatdisintegrateatdifferentrates–adefinitionthatcorrespondstothewayweintuitivelythinkofsound.Theconsequencesofpositingsoundasmind-independentaremanyandvaried.Inparticular,thelistener'srelationtoitisnolongerprimordial:soundcanhaveotherrelations,effectsormodesofoperationofwhichthelistenerisnotnecessarilyaware.TakeforinstanceWillSchrimshaw'sconceptof'soundinitself'orRavivGanchrow'saccountofWaveFieldSynthesis.Theseapproachesopenupnewcriticalperspectivesforthetheoryandpracticeofsoundandotherdigitalmediathatchallengenotonlyanthropocentrismbutalsothekeyroleofthelistenerincontemporarysoundartandtheprevailingphenomenologicalapproachtosound.DamiKIM(FR) ParisCollegeofArt

SensibilityandTechnology:MayaDerenandJohnCage’sNotesaboutTechnology Track7

ABSTRACTAsynthesisofartandtechnologyhereindicatesnewartthatistransformedfromitsbeginningformofartbynewtechnology.Thenewtechnologycancontributetothissynthesiswithitsfunctionsandnewknowledgeproducedbytheuseofthetechnology.However,thisresearchfocusesonartist’ssensibilityabouttechnologyasamainfactorinthecreationofthesynthesis.Sensibility,asthewordliterallymeans,istheabilitytofeel


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certainqualities,moreprecisely,regardlessofgeneralopinion,consensusonthem.Therefore,sensibilityabouttechnologyisafactorthatcanproducesingularityofthesynthesis.Inthisregard,thisresearchconductstwocasestudies:MayaDerenandJohnCage,eachofwhomdevelopedauniquesynthesisofdanceandacamera,amachine,andofmusicandelectronicsinthetwentiethcentury.Thecasestudiesareconductedbydelvingintotheartists’notebooksandletters.Becausethesourcesweredirectlyandinformallywrittenatthemostpresentmomentwhentheyfelt,theauthorandreaderscaneasilypositionthemselvesintotheartists’minds.Thisresearchspecifiestheartists’sensibilitiesabouttechnologybyselectingtheirnotesabouttechnology,andanalyzeshowtheirsensibilitieswerereflectedintheirartisticpractice.RyszardKLUSZCZYŃSKI(PL) UniversityofLodz

BetweenSoundandImage.TheFunctionofSoundinFilmsandVideoWorksofTheWorkshopofFilmForm Track9

ABSTRACTRelationshipsbetweensoundandimagewerestudiedverycarefullyinaudiovisualworksoftheWorkshopofFilmForm,avant-gardegroupworkinginPolandin1970s.StructuresofartworksofsuchartistsasJozefRobakowski,RyszardWasko,AntoniMikolajczyk,andWojciechBruszewskiwereorganizedaroundsuchrelations.Soundplayeddifferentrolesintheirfilmsandvideos,differentstrategieswerecreated.Inmypaper,usingexamples,Iwanttopresentandanalysethemostimportantstrategies:organizingtheimageandvisualitywiththesound,deconstructingperception,underminingcognition.IwantalsotoanalysetheroleofsoundinvisualaestheticsoftheartofTheWorkshopofFilmForm.SaskiaIsabellaMariaKORSTEN(NL)

Repeat-revolution;FormsofPartakerAgencyintheSound-worksofCage,HolmqvistandBruys Track6

ABSTRACTEverysomethingisanechoofnothing—JohnCage1DutchsoundartistNathalieBruysiscuriousaboutwhatsoundwouldlooklike.2ThisrelatestoanexperienceofthecharacteroftheGoleminJudithHerzberg’splay‘EenGolem(AGolem).’3TheGolemlearnstocomprehendthemeaningofthewordbloodbythelook,feelandsenseofit.Themeaningofwordsandsoundsinsoundartarenegotiatedviapartakeragencyintheproduction,performanceandreceptionofit.Thiswholeprocessis,followingKarenBarad,howmatterstartstomatter.4InthispaperIwillbuildonthenotionofpartakeragencyunderstoodbymeasaconceptwhichdescribesthecollaboratingagenciesofthevariousentitiesatworkinanartwork’scomingtolife.5Further,IwillfocusontheefficacyofrepetitioninsoundartandrelatethistotheKototamaprincipleandJohnCage’sideasderivedfromZeninhislectures.FollowingKototama,repetitivesoundshaveaperformativepower:inthere-soundingofvibrationsaworldcanmanifestitself.6Also,artistKarlHolmqvistworkswithrepetitivesound-wordsandperformshispoemscomputer-like:asaformofcode.Inhiswork‘Numbers’hedeclaresrepeatedly:“One,two,it’smorefuntocompute.”7ExactlysucharepetitiveformulaislookeduponaspotentiallyrevolutionarybyBorisGroys.Hearguesinhisarticle‘RepetitionagainstProgress’viaGillesDeleuzethatliteralrepetitionisartificialandcontrarytonaturalphenomena.8Moreover,hequotesWalterBenjaminstatingthatarevolutionisabreakwiththecontinuityoflifeandusesthisassertiontostresstheideaofrepetitionasaformofrevolution.InthispaperIwillbuildacasearoundthesoundworksofCage,HolmqvistandBruys.ThetensionbetweentheproandcontralifeprincipleofrepetitionismadeproductiveinrelationtoideasofcodeasalanguageholdingperformativepowersfollowingAlexanderGalloway.9Iwillexploretheinvisibilityofthescoreaswellastheinvisibilityofcode.Istheperformanceofascoreorcodearepetitionorisitaneworiginaltobeunderstoodasaformofpartakeragencyin,forinstance,Cage’sfamous‘4’33”?’10Bruysquestionsthepartthecomputersoftwareplaysinherwork.Inher‘Iamyou,’thespeakingvoicecallsout:“Fuckyourobot,youdon’tevenunderstandme.”111JohnCage,‘LectureonSomething,’Silence,Middletown,CT:WesleyanUniversityPress,2011:131.2“Ikbengewoonsupernieuwsgierignaarhoegeluideruitzouzien(Iamsimplyhighlycuriousaboutwhat


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soundwouldlooklike),”saysNathalieBruysinavideoportraitfortheVolkrantaward2006.https://vimeo.com/396492263JudithHerzerg,’EenGolem(AGolem),’after‘DerGoilem’byLeivick(1921),Amsterdam:TheatreandFilmbooks,1998:72,73.4KarenBarad,‘PosthumanistPerformativity:TowardanUnderstandingofHowMatterComestoMatter,’Signs:JournalofWomeninCultureandSociety,Vol.28,No.3,Chicago,IL:UniversityofChicagoPress,2003:801–831.5SaskiaIsabellaMariaKorsten,‘PartakerAgency:EntanglementofagenciesinartworksbyBekirovicandAbramović’,EWICEVACopenhagen,2018,http://dx.doi.org/10.14236/ewic/EVAC18.396MikotoMasahiloNakazono,Inochi,TheBookofLife,SantaFe,NM:KototamaInstitute,1984:8.7KarlHolmqvist,‘Numbers,’(2018),performedatSpikeBerlinon29November2018.https://www.youtube.com/watch?v=bbIyMC9B7zM8BorisGroys,‘HerhalingversusVooruitgang(RepetitionagainstProgress),’NowistheTime,Rotterdam:NAiUitgevers,2009:25.9AlexanderGalloway,‘Protocol,’Cambridge,MA:MITPress,2004.10JohnCage,‘4’33”,’(1952),performedbyDavidTudoron29Augusts1952https://www.youtube.com/watch?v=HypmW4Yd7SY11NathalieBruysakaKODI,‘Iamyou,’(2000)https://soundcloud.com/spiripirate/i-am-you-kodiHaraldKRAEMER(HK) SchoolofCreativeMedia,CityUniversityofHongKong

SoundDesignHistory—AudiovisualStorytellinginHypermediaApplicationsforMuseumsandDigitalCulturalHeritage Track8

ABSTRACTSincethemid90'sandwiththeincreasinguseofmultimediatechnologiesfortheknowledgetransfer,museumsappearedascontentproviderandproducer.InteractiveHypermediaapplicationswerecreatedforkiosksystems,websites,CD-ROMs,audioguides,podcastsaswellasinthelastyearsforapps,ARandVR.Forthesuccess,notonlyastimulatingstoryboardandaconciseinterfacedesignbutalsoatailoredsounddesignforthecontentwasresponsible.Incontrasttothewell-researchedstateofinteractivestorytellingandmultimediadesigninandformuseums,afundamentalstudyaboutsounddesignstrategiesforhypermediaapplicationsisstilllacking.Suchastudywillgiveanoverviewofthemainfunctionsandserveasamajorexplorationofhowthesoundoftheseartifactsofourdigitalculturalheritageisdifferentiatedfromthesoundandmusiccomposedformovies,animations,games,VR,andAR.Soundinmovies,animationsandgamescreatestheatmospheretodrivethestoryforward.Soundininteractivehypermediaapplicationshasasubstantiallyaudio-visualgrammaticalroleanditservestointegratedifferentnarrativesintoasuperordinatewhole.Comparingtotheresearchaboutsoundinmoviesandgames,soundinmultimediaapplicationsisstillanunexploredterrain.UndertheleadoftheSchoolofCreativeMediaofCityUniversityofHongKongandincooperationwithZurichUniversityoftheArtsandHongKongBaptistUniversityaresearchprojectisplannedfor2019toexaminehowsoundinhypermediaapplicationshasbeendesignedandtoanalyzethedifferencecomparingthesounddesignformovies,games,animations,ARandVR.Mypresentationwillintroducetheobjectivesandmethodsofimplementingtheprojectaswellasgiveanoverviewofthecasestudies,thetypologyandthecriteriaforanalysis.AndreasKRATKY(US) JuriHWANG(US)UniversityofSouthernCalifornia UniversityofSouthernCalifornia

InnerVoices–ReflexiveAugmentedListening Track6

ABSTRACTThispaperdiscussestwosoundartworkscreatedbytheauthors,"WeepingBamboo"and"GhostLetters,"thatemployaparticulartechniqueoflisteninginandtotheenvironmentviaacombinationofair-andmulti-channelbone-conductedsound.Thisexperienceblendsthespatio-temporalnatureofthesurroundingenvironmentwithasuperimposed–butnotablydistinct–spatio-temporalityevokedbytheinternal,bone-conductedsoundsresonatinginthebodyofthelistener.Usingtheapproachofasoundwalkthesepiecesformulateapositiononembodiedexperience,memory,andaugmentedperceptionthatcriticallyreflectsonhowweperceiveoursurroundings,whatweknow,andhowwecanrelatetothehiddenhistoriclayers,which


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areabsentbutinformingourbeinginaplace."WeepingBamboo"engageswiththeinvisiblepresenceofindigenousmemoryinthecontemporarysceneofthecityofManizalesinColombia,and"GhostLetters"conveysthememoryofpatientsofamentalasylumontheislandofSanServolointheVenetianLagoon,formerlyknownastheIslandoftheMad.Bothexperiencesevokemultiplehistoriclayersintheimaginationofthelistenerthroughinteractive,geo-locatedsoundscapes.Bywalkingacrossthesitelistenersexplorethesoundscapes,whichintermixinvariouswayswiththesoundsofthecurrentenvironment.Thepaperreflectstheartisticapproachofthesetwoworksinthecontextofsoundwalksasanart-historicphenomenon,combiningthereflectiveandintrospectiveaspectinherenttowalkingasanartisticendeavor,asmodelede.g.byBenjamin'sandHessel'snotionoftheflaneur,theimaginativeexplorationasmodelede.g.byCardiff,andthenotionofinvestigationasmodelede.g.byMurraySchafer'ssoundscaperesearch.ThepaperpresentsanewtakeonthesoundwalkwithacriticallookatthecurrenttechhypeofAR.EbruKURBAK(AT)

FromSpindletoReel:GenderAssumptionsandAlternativeMediaHistories Track4

ABSTRACTThispaperexploreshistoricalcrossoversbetweenfibercrafts(woman’swork)andmediatechnologiesasresourcesforimaginingalternativemediahistories.Thecreationofimaginarymediabasedonthosehistoriesisproposedanddiscussedascriticalandartisticstrategy,whichchallengeswidespreadgenderassumptionsabouttechnologicalhistoriesandculture.Particularfocusisputonthearchetypicalrelationshipbetweentheancienthandspindleandrotationalsoundrecordingmedia.Fiberandtextilecrafts,whicharewidelypracticedbywomen,haveprovidednaturalmediumandinspirationforstoringdataovercenturiesbeyondJacquard’sloom.Examplesincludeconventionsofvisuallyembeddingsymbolsintextiles,thepre-ColumbianAndeanknottedstrings(Quipu)thatstorefinancialdata,andNASA’scoreropememoryoftheApolloGuidanceComputer,whichwasliterallywovenbywomeninthetextileindustry.Stringisthearchetypeofalllinearfiberelementssuchaswires,cords,cables,andopticaltransmissionlines.Thespinningwhorlwasinventedbeforethewheelandledthehumanimaginationtoeventuallydiscoverallrotationalmechanisms.Withthemechanizationoftextilemaking,thesocietalvaluegiventothepracticeofhandspinninghasdrasticallychanged.Thesimplespindleisthesourceforopen-reelplayers,taperecorders,automobiles,gearedmanufacturingmachines,propellers,andcountlessothertechnologies.ThefirstpaperwrittenonpossibilitiesofmagneticrecordingofsoundbyOberlinSmithin1888suggestscottonthreadswithsteelparticlesasapotentialfeasiblemedium.Thislinkishardlyimaginabletodayduetothedomesticationofandthedominantassumptionsaboutwomen’swork.Thecriticalandartisticstrategyproposedanddemonstratedbythispaperinvolves(1)excavatinghistoricalcrossoversbetweenfiberandtextilecraftsandmediatechnologiestoidentifypotentialpointsofdivergenceand(2)imagininganddevelopingspeculativedevicesastestamentsto“whatcouldhavebeen,”tocontestwidespreadgenderassumptions.JordanLACEY(AU) RMITUniversity

ADiscussionofPosthumanisminRelationtoanUrbanSoundArtInstallationPractice Track1

ABSTRACTInthispaper,theauthor’screativeworksarepositionedinthecontextofposthumanisminwhichanaffirmativepoliticsseeksto“thinkcriticallyaboutwhoandwhatweareintheprocessofbecoming”(Braidotti2013).Posthumancriticaltheoryquestionstraditionalconceptsofthehumansubjectbychallengingustoadoptaplanetaryconsciousness,whichpreferencesinterconnectionoverseparation.Itachievesthisbybreakingdowndualismsthatseparatesocietyfromnature,insteadpreferencingamonist(rhizomic)understandingoftherealasatireless“self-organisingforceoflivingmatter”describedasvitalistmaterialismorzoe(Braidotti2013:3).Sonicpracticeshavemuchtoofferthisemergingconsciousness,inparticulartheconceptofsonicrelationality(LaBelle2006,2017;Voegelin2013),whichconsidershowlisteninginterconnectsbodieswithinavibratoryfieldofsoundings.Thisapproachchallengeswhatmightbeconsideredthe‘hegemonyoftheocular’,whichisunderstoodhereasanoutwardgazethatdeterminestheusefulnessoftheexternalworldbybreakingitdownintocategoriesofrepresentation.Instead,thelisteningsubjectisimmersed


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inasonicflux,feelingtheworld,andconsciousoftheever-shiftinginterconnectionsthatconsistentlyredefineitsrelationshipswithotherbodies.Itisarguedthattheemergingawarenessofsonicrelationalityisconsistentwiththeaffirmativepoliticsandtransversalityofposthumanpractices(Braidotti&Hlavajova2018);specifically,throughurbanpracticesthatseektorupturehegemonicsoundscapesbysimultaneouslyencouragingalisteningout(environmental/social)andalisteningin(psychic).Toillustratethesetheoreticalpostulates,threetransdisciplinarysonicinterventions,inwhichtheauthorwasengaged,areexplored:NoiseTransformation,whichsoughttorevealtheaestheticpotentialoftrafficnoise;Touchstone,whichcollapsedasoniccommunityintoaperformativedigitalsculpturemarkedbytheEarth’srotation;andFielding,whichexploresthepotentialofsoundarttoinformnewapproachestourbangreeningprograms.Incombination,thethreeinterventionspointtowardswaysinwhichposthumanismmightenableanewwayofthinkingabouturbansoundartinstallationpractices.JenniLAUWRENS(ZA) UniversityofPretoria

EngineeringEmpathythroughthePowerofVoice Track3

ABSTRACTCandiceBreitz’ssound-basedartworkattheVeniceBiennalein2017wasentitledLoveStory(2016).Thisseven-channelvideoinstallationexploredcontemporarystoriesofmigrationinwesterncountries.Viewerscouldsitinfrontofanyofthesixmonitorsarrangedinadarkroom,putonapairofheadphonesandlistentostoriesofpersecutionandviolencewhilewatchingtheintervieweeonscreensittinginfrontofagreenscreenrelatingmemoriesoftheirsuffering.However,theonlywaytoenterthisroomwasthroughanotherlargerroomwhichcontainedalargescreenandaseatingareaforviewers.OnthisscreentwofamiliarHollywoodstarstoldhorrificstoriesoftorture,abuseanddiscrimination,actingoutthestoriesofthe‘real’migrants.Unlikethesecondroom,wherethestoriescouldonlybeheardontheheadphones,theactors’voicescouldbeheardevenbeforeenteringtheroom.Infact,itwastherecognisablilityofJulianneMooreandAlecBaldwin’svoicesthatcaughttheaudiences’attention(andimagination)evenbeforetheycouldhearthedetailsofwhatthesecelebritiesweresaying.Thehumanvoiceisapowerfulvehicleofsocialandaffectivecommunication.Whencomparedwithothersensemodalities,thevoiceisadynamicandaccurateconveyorofemotionviaspeechcontent(whatissaid)aswellaslinguisticandparalinguisticcues(howitissaid).ThepaperwillusethelensofempathytheorytoexplorethewaysinwhichBreitz’sartworkengineeredempatheticresponsesfromitsaudiencebyspecificallyfocusingonhowvoicecanmanipulateemotionalreactions.Iwillalsolookbeyondpitchmodulationandothervocalcuestosuggestwhyitisthatwearemoreempatheticallymovedbythestoriesre-narratedbythefictionalcharactersthanbythosetoldbytheactualvictims.PaolaBarretoLEBLANC(BR) LucasBRASIL(BR)FederalUniversityofBahia FederalUniversityofBahia

Barroquinha'sCalling Track3

ABSTRACTThehistoriccenterofSalvadorwasoncehomeofprominentafricanpersonalitieswhoactivelyparticipatedinthefirstblacksocialmovementsinBrazil.FromtheformationofaCandomblé,between1788and1830totheMalêRevoltin1835,Barroquinhamuddygroundguardstheaşê(vitalenergyoftheYorubaworldview)oftheblackancestrythat,amidtheviolentblowsofcolonialism,wasarticulatedinprocessesofreterritorialization,amalgamatingAfrican,PortugueseandAmerindianroots.Inthistextwepresentasoundscapeprojectthatincorporateselementsofanartisticresearcharoundtheblackcommunitiesthatinhabitedthisregion,specificallyinthenineteenthcentury.Thesoundscapeisbasedonaworkofexcavationofmemories,andproducesacollectionofsoundsthatassociatespracticesofarcheology,cartographyandwhatwecallhereancestralintuition.Weinvoke-andaskagôto-theforcesthatnotonlyinhabitbutconstitutethatterritory.Thistechniqueofunveilingandmakingremarkableforcespresentbutnotmanifest,wecallphantasmagoria.Thisprocesstakesplacethroughanattentivelisteningthatfollowsfootprintsacrosstheterritory,betweenthepersonalstoriesandtheofficialhistoriography,drawingathreadofmemories.Aseriesofheterogeneouselementsmakeupoursoundpath,andtheuseoftheYorubalanguageinwordsandsongscontextualizeanddeepenthehistoricalbackgroundofthenarrativesreferringtoAfro-diasporicblackpeoples,whohaveerectedthecityofBahiainvariousforms.HowdoesBarroquinhareverberatethesevoices?Whataretheechoesof


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thesepresences?Whatarethescarsthatmarkthispartofthecity?Whatcouldtheriversthatflowundergroundtellus?JooYunLEE(KR) PrattInstitute

Ikeda’sAudiovisualInstallationofSonicMediaTemporalitiesSuperposedinUrbanMediaEnvironment Track4

ABSTRACTThispaperproposestoexamineParis-basedJapanese-borncomposerandvisualartistRyojiIkeda’saudiovisualworkasapeculiarmodeofcontemporaryaudiopracticeattheintersectionofsoundartandmediaart,withitsfocusonthosewhichwentbeyondthespatialandcontextualconfinementsofinstitutionalframes.Ikeda’stheradarseries,forexample,transformednaturalandbuiltenvironmentinto“temporarilydemarcatedeventspace”withspecialconsiderationofthesite’snaturalcondition,culturalcontextsandlocalaudiences.ThispaperdiscussesIkeda’ssite-specificaudiovisualinstallationsarticulatedaccordingtothesonicmedia’stemporalstructure,relyingonWolfgangErnst’stheoryofsonicityandsonicmediatemporality.UnderscoringthatIkeda’sscreen-centriclarge-scaleinstallationsforgewhatErnsttermsacoustictempor(e)alities,itexamineshowtheradicaldecompositionandrecompositionofsoundandimageaccordingtocomputationalmedia’sextremityofmicro-temporalitymakespatialeffectsimmersively.IarguethatIkeda’sdatacomposition—certainlyevolvedfromhismusiccomposition—makesdata’sinherentsonicitynotonlyvisiblebutsensible,traversingthebitsofinformationandactualmaterialityofsound(materialsounding),andalsointerfacingitwithabstractionandmaterializationofotherphenomenasuchaslight,visuals,andnumericaldata.IalsoclaimsthatIkeda’sworkprovokestheviewer’sengagementwitharealmofnotknowingorunfathomabledata,unveilingthetemporalprocessualityofdataprocessingatthethresholdsoftheviewer’sperceptionandcomprehension,especially,whenitinterfereswiththeinvisible/inaudiblesignalsgeneratedandtransmittedbyeverywhereinfrastructures,networks,anddataflowsinurbanmediaenvironment.Lastly,thisresearchunderscoresthatIkeda’sworkcomposedofaplethoraofsonicandvisualdatayetisa“densityofnothing”intermsofcontentsandmeaningsengendersasensibleexperienceofourrealityentangledwithdatafiedsociety,realigningtheviewers’earsandeyeswithbodiesaccordingtosonicmediatemporality.

SigrunLEHNERT(DE) HamburgMediaSchool

MemorybyVoiceandMusicinGermanNewsreelsofthe1950s/1960s Track3

ABSTRACTIntermsofthehistoryofaudio,thecinemanewsreelisanappropriateobjectofinvestigation.Sincethenewsreelsweretheonlysourceofnewspriortothespreadofthetelevision,theyhadthepowertoshapethecollectivememory.TheheydayoftheGermanpost-warnewsreelswasthe1950s–however,thepresentationofthenewsreelsintheinterludesofcinemafilmsendedinthe1970s.Askingelderlypeopleabouttheirmemoriesofnewsreelpresentations,theyhighlighttheimpressivemusicandtheuniquelyspokencommentary.Themusicandsoundfitperfectlytoeverysinglenewsreelreportanditsvisuals.Theseconceptsgobacktotherootsofmusicinfilm.PartsofthebackgroundmusicoftheWestGermannewsreelNeueDeutscheWochenschau,werealsousedintheNazi-propagandavehicleDeutscheWochenschau.Thecategoriesandstructuresofthemusicarchive,however,stemfromtheAllgemeineHandbuchderFilm-MusikbyErdmann,Becce&Brav(1927):attheendofthesilentfilmera,theauthorsalsogaverecommendationsformusicconceptsinthe“Tagesschau”(asthenewsreelswerereferredtointhosedays).Piecesofmusicwerenotonlyusedasbackgroundsound,butwereusedforpoliticalmessagesandexpressedideologicalmeaningsaswellasnationalandinternationalrelations.InthecaseofthestatecontrolledEastGermannewsreelDerAugenzeuge,theblatantpoliticalassociations,familiarizingviewerswithsocialistculture,isverymuchobviouswhenviewingeventoday.Besidesthecharacteristicstyleofthecommentaryvoice,‘speechacts’(cf.JohnL.Austin(1962)andJohnSearle(1969)),e.g.expressingadeclarationoradirective,mayhavehadanimpactonpeople’spoliticalopinionandtheirviewontheworldduringtheColdWar.Thistalkwillaimtorevealthepatternsaswellasfunctionsoftheaudibleelementsofnewsreels.


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LauraLEUZZI(UK) StephenPARTRIDGE(UK) AdamLOCKHART(UK)UniversityofDundee UniversityofDundee UniversityofDundee

Approaches,StrategiesandTheoreticalandPractice-basedResearchMethodstoInvestigateandArchiveEarlyVideoArt.SomeReflectionsfromtheREWINDResearchProjects

Track8

ABSTRACTThispaperwilldiscussmethodologies,approachesandissues,emergingoutofthreemajorresearchprojectsthathaveinvestigatedandarchivedhistoriesofearlyvideoartinEurope:REWIND(2005–ongoing),REWINDItalia(2011-2014)andEWVA(2015-2018).Thepaperwilldiscusshowtheprojectshaveengagedwiththehistoryoftheapparatus,theidentityandstatusoftheartworks,preservationmethods,andthelegacyofthesevideoartworkstoday.Aparticularfocuswillbeonsemi-structuredquestionnairesforinterviewsstructuredtocaptureoralhistories,memoriesandrecollections,thatinsomecaseswouldhavebeenotherwiselosttofutureknowledgeandtheuncoveringoflostartworksandtheiravailabledocumentation.Thespeakers–directlyinvolvedintheprojects–willdiscusssolutions,risksandexperiencesencounteredintheprojectsandfutureresearchperspectivesforre-covering,archiving,collectingandnarratingthehistoriesofearlyvideoartinEurope.Thepaperwilldiscussalsodifferentpractice-basedresearchmethods,platformsandengagementstrategies,includingre-installationandre-enactment.Discussedcasestudieswillinclude:exhibitions(DoggerfisherGallery,Edinburgh,2008;Stills,Edinburgh,2009;StreetLevelPhotoworks,Glasgow,2010;CareofDOCVA,Milan2012;Summerhall,Edinburgh2017);re-instalmentinpublicspaces(BBCBigScreenEdinburgh,2009);curatedperformativescreenings,withselectedartists’andtheoreticaltexts,performancesandscreenings(Autoritratti,TheShowroominLondon,2015;Self/PortraitsVRC,DCA,2016);there-enactments(Partridge’sMonitorLive,Tate,StarrAuditorium,2009;ClaudioAmbrosini’sVideosonata,Zurich2014,CCA,Glasgow,2015;ElaineShemilt’sDoppelgangerRedux,BowArts,London,2016),curatedscreenings(DCAD,Dundee,2008;TateModern,StarrAuditorium,2009;Videoex,Zurich,2014;RomeMediaArtFestival,Rome,MAXXI,2016).MichelleLEWIS-KING(CN) RoyAscottTechnoeticArtsStudio,DeTaoMastersAcademy,ShanghaiInst. ofVisualArts

Zheng:NegotiatingArt,SoundandMedicineCultures Track6

ABSTRACTIproposetopresentapaperonmyongoingperformanceartresearchproject:Zhèng證–Cross-CulturalEncountersinArt,MedicineandTechnology.Thisprojectconstitutesanewareaofresearchdevelopmentinthearts,sciencesandhumanitiesandalsoininterculturalcommunication,becausealthoughartisticpracticeisnowwidelyusedtoresearchandcommunicatebiomedicinepracticetoaglobalcommunity,usingartisticpracticetoresearchandcommunicateAsianandChinesemedicinepracticestointernationalaudienceshasuntilnowbeenwhollyneglected.Chinesemedicine(CM)asahighlyaperformativeintervention-frompulseanalysisandneedlingtousingMoxabustion艾灸(thisconsistsofburningdriedArtemisiavulgarisaboveacupuncturepointsalongonthebody)andprescribingherbalformulas.Byusingthesetoolstogetherwith‘embodied’technologies,suchasdiagnostictouchandmedicallyfocusedintention(yìnìan意念),Chinesemedicineinterleavesintuitive,alchemical,medicalandpoeticformsofknowledgetogether–bringingscienceandartintocommunicationinuniqueways.InthisprojectIusetouchandsoundtotestoutandproducenewreflectionsonacross-culturalmedicalbody.Theaimofmyapproachistodiversifythedominantconceptionsofwhatabodyisandcando.Drawinguponmyexpertiseasanartistandclinicalacupuncturistwithtraininginbiomedicine,myprojectadaptsChinesemedicinepracticeintoastrategictooltoinvestigatenewsynergiesbetweenart,medicine,technology,East,West,modernityandpre-modernity.Forexample,currentlyIcollaboratewith4DSOUND-Budapest,whereweexploretherelationshipbetweenthebody’sinfrasonicdynamicsandspatialsoundenvironmentsaccordingtoChinesemedicinetheories.Inmyperformances,IuseChinesepulsediagnosis(ascientific/medicalmethod)asanartisticmethodtoproducespatialsoundscapes.Byre-stagingtheChinesemedicineclinicwithinthepublicdomain,myresearchutilisestheperformativeelementoftheChinesemedicalencountertoenablegreaterreflectionofandrenegotiationofartandmedicineandtheircurrentfunctionsinsociety.


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AndrewLIM(US)

ContraAdorno'sCritiqueofTechnicsinMusic:Affect,AlienatedLabor,andCage'sAestheticsofIndeterminacy Track4

ABSTRACTAsacentralpreoccupationofKantianaesthetics,theautonomyofartwasaprimarytropeofEnlightenmentdiscourseontheinterrelationsbetweenartanditssocialcontext.Materialistextensionsofcriticalphilosophy,particularlywiththeriseoftechnologyinthe20thcentury,gaverisetoAdorno’scritiqueoftheaestheticusesoftechnology,whichheidentifiedasaninstrumentofthelatecapitalistcultureindustry.Inthedomainoftheaestheticsofmusic,AdornoheldfewcontemporarycomposersinashighregardasArnoldSchoenbergforthedisruptivequalityofhisavant-gardemusic,privileginghisradicaltheoriesofharmonyasapolitico-aestheticstrategyforépaterlesbourgeois.ThoughastudentofSchoenberg,JohnCageexemplifiedthepostwarresistancetoanidentificationofmusicaltechniquesofdisruptionwithformalinnovation,insteademployingarangeofeverydaytechnicsintheserviceofanewaestheticsofchanceoperationsandindeterminacy.Inthisrespect,CageappearstopresentacounterexampletotheapplicationofAdorno’stheoriesofthepoliticsoftechnologyinarttopostwarAmericanexperimentalmusicintheveininitiatedbyCageandlaterassociatedwithFluxusmovement.UsingaframeworkprovidedbyBourdieu’scritiqueofAdorno’sconceptualizationofpopularmusicasatechnologicallyfacilitated,culturalanalogueofalienatedlabor,thispaperarguesthatCage’saestheticsofindeterminacysubvertstheassociationoftechnologywithalienationanditsassociatedaffects.StephanieLOVELESS(US) RensselaerPolytechnicInstitute

TacticalListeningintheCity:AFeministTurnfromEyetoEar Track3

ABSTRACTIn1974,PaulineOliverospublishedabookoflistening-orientedinstructionscores,called“SonicMeditations”.Workshoppedinafeministcollective,thesescoresweredesignedtobeparticipatory,inclusive,andnon-hierarchical,exploringlisteningasanactofpersonalandcollectiveemancipation.Inthe1970s,HildegardWesterkampdevelopedthepractiseofSoundwalking:artist-ledpublicwalksactivelyexploringthe(usuallyurban)environmentviasoundsheard,outoftheconvictionthatsonicinformationcanuncovernewandembodiedinformationabouttheecologicalandsocialhealthofplace.MicheldeCerteau’s“WalkingintheCIty”waspublishedin1980.EchoingGuyDebord’spsychogeographic“derive”--theunplanneddriftthroughanurbanlandscape--deCerteaucalledfortheengagementwiththecityviawalkingasatacticalactofresistancetothedehumanizationofsystemsofpowerasexpressedinthemoderncity.Thispapertriangulatesbetweenthemasculinefigureofthesituationistflâneur,andthefeministfiguresoftheecologically-orientedsoundwalkerandthecontemplativelistener,inordertotellanewstoryaboutlisteninginpublicspaceasatacticalurbanact.DeCerteaucallsforresistancetothe“scopicdrive”forlegibilityanddisentanglementviawalking,butmissesacrucialopportunitytoturntotheear.Whatisthe“listeningdrive”?Listening--inherentlyimmersiveandexperiential,ever-present,physical,co-constitutive--enmeshesusinoursurroundings.Inallofthesewaysitcanalsobeseenasinherentlyfeminist.Thispresentationhighlightssocially-drivensoundwalkartistssuchasAmandaGutierrezandAndraMcCartney,aswellasthepresenter’sowngenerativeandgeo-locatedwebsitesandweb-appsforcontemplativelisteninginurbanenvironments.Theseworksproposeembodiedmovementandlisteninginpublicspaceaspracticesthatinterveneintobothexternalandinternalsystemsofalienation,openinguppossibilitiesforhumanengagementandtransformation.Jung-YeonMA(JP) Meiji University

OnSeikoMikami:ACriticalReader Track9

ABSTRACTThispresentationwillintroduceanupcomingbookSeikoMikami:ACriticalReader(February2019,Tokyo:NTTPublishing)co-editedbythepresenterandTomoyaWatanabeofYCAM|YamaguchiCenterforArtsandMedia,alongwithotherrelatedongoingarchivalprojectsaccomplishedbyYCAM,TamaArtUniversityandotherssincetheunexpectedlossoftheartistin2015.Apartfromtheco-editors,contributorsofthisbookincludeYuichiKonno,SabuKohso,YukikoShikata,AndreasBroeckmann,KazunaoAbe,AkihiroKubotaandtheartist


RE:SOUND2019

herself,whoseapproachesfocusingtheartist’sworksandactivitiesindifferentperiodsoftimeandplacessuchasJapan,theU.S.A,EuropeandJapanonceagain,asanartistandalsoaneducator.ThebookalsointroducesanoriginalinterviewwithNorimizuAmeyaandcriticalessayfirstappearedonARTiT,onlineartmagazinebyNoiSawaragi.Thispublicationprojectcanbeunderstoodasananswertothefactthatcomprehensivepublicationsonartistwerehighlylimited,withfewexceptionssuchasbookspublishedin1990inTokyoand2004inSpain,despitetheworld-wideexhibitionsthattheartistparticipatedeveryyearsinceherfirstexhibitionin1985,Tokyo.Afterbrieflyrecollectingtheartist’spracticesduringlast30years,thepresenterwilldiscussfuturechallengesforcriticaldiscoursesonMikami’swork.LouiseMACKENZIE(UK) BxNUInstituteofContemporaryArt,NorthumbriaUniversity

AlchemicalSensing—LayeringPerceptionthroughTechnology Track6

ABSTRACTThispaperdiscussesthemakingoftheaudio-visualinstallation,TheStarsBeneathOurFeetandindoingso,describesthephenomenologicalexperiencesencounteredbytheartistinattemptingtorelatetomicro-organismsthroughsound.Thephrase,alchemicalsensingisintroducedtodescribetheexperienceresultingfromtheprocessofdecision-makingrequiredtoproducesoundsandimagesassociatedwithdenselylayeredscientifictechnologyinthecontextofthiscross-disciplinarycollaborativeproject.Onviewingthemicro-algae,Dunaliellasalinaunderthemicroscope,artistLouiseMackenziewascompelledtodevelopanaudio-visualinstallationthatpresentstheorganismsatscale,inacustom-designed,darkenedspace,encompassingtheaudienceandplacingtheminbodilyrelationtotheorganisms.Referencingthedevelopmentofthefieldsofsonificationandsonocytology,theuseofAtomicForceMicroscopy(AFM),Python,PhotosounderandMAX/MSPwereemployedtoconstructanembodiedaudiosenseofthemicro-organism,Dunaliellasalina.MovementsdetectedweretranslatedusingbothsonificationandaudificationtechniquesintosoundfilesthatwereusedtoformtheaudiocomponentofTheStarsBeneathOurFeet:aninstallationcommissionedaspartofLumiereDurham2015,afour-dayinternationallightfestivalproducedbyArtichokeintheUK.ThevideocomponentoftheinstallationwasmadeusingacombinationofTIRF(totalinternalreflectionfluorescence)microscopy,darkfieldmicroscopyandaDSLRcameratoproducemovingimagesthatpresentfortheaudienceaperceptionofmicro-organismsthatisothertothatcommonlyusedwithinscientificresearch.‘Lookingat’and‘listeningto’theorganismsinthisexpandedmannerinthecontextofanartinstallationaddstooursensoryperceptionofmicro-organisms,whilstsimultaneouslyremindingusofthelimitationsofourbodilysensorycapacities.EmmanuelMADAN(CA) IMAA

FREEDOMHIGHWAY Track3

ABSTRACTFREEDOMHIGHWAYisatransmissionartworkinitiallycreatedfrom2001-2004,whichtheartistiscurrentlyrevisitinginthecontemporarypoliticalandsocialclimate.Inthelead-uptothestartoftheIraqwar(2002-2003),ImadenumerousroadtripsacrosstheUnitedStatesduringwhichIrecordedradioprogramminginformatknownastalkradio.TalkradiointheUSisheavilyskewedtowardstherightwing;dominatedbyultra-conservativespoliticallyandevangelicalChristiansreligiously.Sincethe1990’s,thecultureoftalkradiohasbeenatthevanguardoflegitimizingandmainstreamingtheideologicalbeliefsandpolicyprioritiesthatnowholdswayinthecurrentUSadministration.Inthepresentpoliticalmoment,thisnormalizationofvehementnativismandxenophobiaseemsincreasinglyoverwhelming.ThisiswhyforthepasttwoyearsIhavebeenrevisitingthework,whichIfirstperformedextensivelyintheUS,CanadaandEuropefrom2004-2008.InNorthAmerica,therootsofxenophobiaandnativismrunverydeep.Thewidespreadglorificationofthesedestructivetendencieswhichwearewitnessingtodayarenotwithoutprecedent.UnderstandingthecurrentepisodeinAmericanpublicdiscourseandmediarequiresarenewedexaminationofthepoliticsofthespokenword.FREEDOMHIGHWAYisanaudiocompositionconstructedaroundamulti-voicedspokennarrative,compositedfromhundredsofspeakersrecordedinabouttwentyAmericanstates:right-wingcall-inhosts,radiopreachers,shockjocksandsportscommentatorsaswellastheirguestsandcallers.Radiointerferenceandstaticarealsousedextensivelythroughoutthepiecetocreateadditionalspacesbesidestheones(radiostudioandtelephone)inherentintheprogrammingitself.Theresultingaudiofootageisthenassembledintoanaudio


RE:SOUND2019

performanceandagalleryinstallation,adeeplytroubling“audioself-portrait”ofAmericaasrenderedbythenation’spoliticalandreligiousradiobroadcasters,andasoverheardorinterceptedbyalistenerwhoisnottheintendedaudienceofthesebroadcasts.FREEDOMHIGHWAYhasbeenperformed,broadcast,andexhibitedingalleryinstallationformregularlysince2004.IthasbeenheardintheUS,Canada,andEurope.CharuMAITHANI(AU) UniversityofNewSouthWales

Screens—Connections,InteractionsandGestures Track9

ABSTRACTTheproposedpaperinvestigatesthegesturalmodalitiesperformedbythescreensinmediaartsinthespecificinstanceoftheabsenceofimages.Assistedbythepostmediaturn,contemporaryscreensprovideexpandedfunctions,asseenintheiruseinproducingimagesinadditiontodisplayingthem.Screensareaconstantagencyindifferentmediaastheyarethecommonconstituentofimageproduction,displayanddistribution.Theyemphasize,interconnectandre-articulatetherelationshipbetweentheimage,theartist,software,hardwareandtheuser,invariousmodalitiesofimage-makinganddisplay.Inthefieldofmediaarts,screenshaveprovidednewinstancesofinteractionandmultipleconnectionsbetweentheelementsoftheinstallation.Furtheron,theyalsoaffordthepotentialofextendingthisinteractionbetweentheaudiencememberandtheartwork.However,inconsideringthegesturalityofscreens,itisimportanttonotethatinthecurrentecologyoftherelationshipbetweenbodies–images–screens,itisunclearwhichentityisperformingthegestures.Forexample,ininteractiveart,itisnotsimplythatthescreenreactstothebodywhichreactstotheimage.Instead,asconnectionsareformedbetweenpartsoftheinteractiveartassemblage,thegesturescanbearguedtobemigrating.Insuchaset-up,Iarguethattheintermedialpositionofscreenslendsthemagesturalitythatisactivatedandactualisedincertainconditions.Theproposedpaperwillfurthercomplicatetheexaminationofthegesturalityofscreensbyanalysingspecificmediaartworkswheretheimageisabsent;wherethescreensareimportantandtheimageisnot.Thisrefutestheclaimthatscreensaremerecontainerforimagesandinsteadhighlightsthegesturalagencyofscreens.Moreover,questionsaroundwhatgesturalityisperformedbythescreensthatset-uptheconnectionsandpotentialitiesinspecificinstanceswillbeexamined.AndreaMANCIANTI(FI) AaltoUniversity

Blindphones Track6

ABSTRACTVirtualreality,initscurrentwave,isverymuchdrivenbycommercialpreoccupations,asthelastgenerationofheadsetscomeasconsumerelectroniccommodities.Thisresultsinproprietarytechnologiesexposedtoextremelyrapidobsolescence,blackboxtoolsandstrategiesmoredirectedtowardsentertainmentandprofitthanart.ThisarticleillustratestheproductionoftheimmersiveinstallationBlindphones,anartisticexperiencepresentedtoArsElectronicafestival2018,createdforanexperimentalwearableusingsimpletechnologiesandsustainablematerials,buildaroundthesonicandopticalpropertiesoflargesheetsofbacterialcellulose.Moreover,theideabehindthisinstallationwastore-appropriatesomeofthekeyconceptsbehindVR,suchasre-embodimentandimmersion,but,abandoninganycommercialdevice,attemptedtoreimaginetheheadmounteddisplayasaformofprostheticsradicallychangingourperceptionprovidingaglimpseofanalternativeembodiment.Ratherthanasatooltofooloursensesbyproviding(someof)themwithacrediblesimulationoftheworld,conformingtheviewerintoanormativeembodiment,Blindphones,byheavilyimpairingsight,forcesthebodytofunctionusingsoundasthemainsensetoarticulateadreamyworldmadeofshiftinglightsandmusic.Theheadmounteddisplayherewasconceivedmoreasaformofanalmostalienlivingprosthesis,thedesignwasinspiredbyplantsandmushrooms,andthematerialsusedintheDIYfabricationprocesshavebeenasmuchaspossiblefromsustainable,biodegradablesources,suchasbacterialcelluloseand100%biodegradablePLA.Inspiredbythealteredstatesinducedbythesensorydeprivationtank,wherethebodyfloatsweightlesslyinadarkquietenvironmentandthemindshiftsfromameditativestateuptoanhallucinatoryone,theprojectdrawsfromthepsychedelictraditionofearlyVRartanddronemusic.


RE:SOUND2019

CedricMARIDET(HK) HongKongBaptistUniversity

ThefigureoftheAmateurforaGeneralOrganologyofSoundArtPractices Track5

ABSTRACTThedevelopmentofnewtechnologiesnotonlycontributestoanewmusicalorganology,butalsodrasticallychangesourformsofengagementwithsound.Areassessedmodelofacoulogyinformsnewlisteningintentionsthroughafirst-personenquiryofthelisteningact,todefinetheheterogeneityoflisteningintentionsasawaytoframetheexperienceofsound.Inthisframework,composers,listenersandcuratorsalikearedefiningandpromotingnewsoundpracticesthroughheightenedattentionandsupportaprocessofgrammatizationwhichcallsforageneralorganology,asdefinedbyBernardStiegler.Withinthistheorythatarticulatesbodily,artificialandsocialorgans,thefiguretotheamateuraslistener,composerorcuratorprovestobecentral.Initsqualificativedefinition,theamateurdevelopsparticularrelationswithaclassofobject,toexperimentwithaestheticstechnical,social,mentalandcorporalbodies.DrawinguponthetheoryoftasteofAntoineHennion,differentactorscanbeidentifiedintheprocess:thecollectiveasageneralframework,fromwhichthedefinitionofaparticulartastecanemerge;situations,orthespatio-temporalconditionsthatmightberequiredfortheemergenceofaparticulartasteorexperienceoftheobject,likeaspecificritual,orwaysofdoingthings;andofcoursetheobjectitselfanditseffects,notasbeingcontainedintheobject,butasbeingdiscoveredbytheattentionoftheamateur,inaperformativemeaning.Withinthisparticularsettingofexperimentationwiththistemporalobjectthatissound,composers,listenersandcuratorscanengageinthedifferentlevelsofStiegler'sgeneralorganologyandcontributetoade-proletarizationprocessbycreatingapositivepharmakon.AngelaMCARTHUR(UK)

Eco-remediation:MySchizophonia'sCured!(No,It'sNot) Track6

ABSTRACTInaudibleorordinarilyinaccessiblesoundingsofthegeophonyandbiophonyareincreasinglysonifiedormadepublicallyavailable,asanactofremediation(inboththesensethatthiswillremedycurrentenvironmentalconcernsbyfosteringawareness,andinthesensethatitrepresentsdatathatisalreadyrepresentational).Frominfrasonicoceanmicrobaromandglacierdata,tocitizensenseaudificationprojects,thistrendseemssettocontinue.Dosuchactivitiespositivelyimpactourabilitytolisten,toreducealteritybyattendingto'otherness'andconnectustonon-humansystemsandlisteningexperiences?Aretheyinsteadaself-servingappeasementoftheisolationandsenseofpowerlessnesswhichourtechnologicallyconnectedworldcanengender,creatingtheillusionofcustodianshipwithouttheradicalbehaviourchangesneededtoaddressaslewofenvironmentalcrises?Asanalternative,canaproductivetensionunderminethepolaritiesofsuchadialectic?How?Inwhatwayscanwe'read'suchsoundings,giventhattheyarenotnecessarilyneutralorobjectiverepresentations?Howmightenvironmentalsonificationandaudificationhelporharmthecauseofnon-humanlistening?AsaMENDELSOHN(US) UniversityofCalifornia,SanDiego

VoicesforPasture Track3

ABSTRACTVoicesforPastureisaperformativescreeningattemptingtoreproduce,elaborate,andsubverttheintimacyandpowerdynamicsamongcollaboratorsthroughtheformofvoiceovernarrationandvocalperformance.I'dliketousethisasanopportunitytoexplorematerialconnectedtomyresearchandfilmproject,Pasture,whichiscurrentlyinproduction.Combiningnarrativeanddocumentaryfilmmakingstrategies,PasturereimaginesthestoryofaprivatesecuritytrainingfacilityonthePotrero-Tecateborder,establishingintersectionswithinlegaciesofqueerandtrans*anti-oppression,anti-militarismactivismsintheUnitedStates.Thefilmisanexperimentalexerciseinhistoricalfiction.It’s2007:Simon,awhite,Jewishtrans*personinNewYorklearnsaboutacivicresistancemovementtakingplaceinPotrero,asmalltownforty-fivemilessoutheastofSanDiego,onoccupiedKumeyaaylandandeightmilesfromtheborderwithTecate,Mexico,wherein2006theprivatemilitarycompanyBlackwaterUSAannouncedplanstodevelopatrainingfacility.SimoncomesouttoCalifornia


RE:SOUND2019

toparticipateinanddocumentthedemonstrationsthattakeplaceinOctober2007.Afterthedemonstrations,theydecidetostay.ForPastureIamworkingwithnon-professionalactors,withpeoplewhohavepoliticalinvestmentsinthelegacyofBlackwaterinSanDiegoCounty,ofradicaltrans*activism,andofapoliticsofallyship,tochoreographarangeofapproachesintoRoundPotreroValley,andintothepoliticalquestionsunderlyingthisprojectmorebroadly.PasturetakesupclaimsmadebyBlackwaterrepresentativesin2007thatthevalleywasanattractivesiteforamilitarytrainingfacilitybecauseofitsqualityasa“naturalsoundbarrier.”Thefilminterrogatesthisprovocation,questioningwhatitmeansforapoliticallyandspirituallycontestedenvironmenttobea“soundbarrier”?IamcollaboratingwithfilmmakerandsoundartistSindhuThirumalaisamy,andwiththeworkofwriters,artists,andactivistsincludingSayakValenciaandJazaelOlguínZapatatoimaginethevoiceofthevalley.Throughcollaborationswithnon-professionalactors—withpeopleperformingasversionsofthemselves—IamhopingtocommunicatethekindofslipandstutterbetweenperformanceandreallifethatJoséEstebanMuñozmightdescribeas“failure,”oras“activepoliticalrefusal.”“Failure”is,asIunderstandMuñoz’swritingandlegacy,anopeningintoanotherspaceofrelating,abreakfromperformativenorms,fromaperformanceofanorm,suchas“reallife,”or“gender.”ForRE:Sound,IamproposingtopresentfootagefromPasturejuxtaposedwitheditorialcommentaryproducedbymyselfwithSindhu,andfeaturingvocalperformancesbysingerandartistHillaryJeanYoung.TomMILNES(UK) FalmouthUniversity

TheCloudandThinAir:ToolsforArtisticPracticethatDisappear Track4

ABSTRACTThisresearchpaperapproachestheissuesforartisticpracticeposedbychangestotechnologicaltools.Howtoolsbasedin‘TheCloud’disappearintothinair.Musicians,gamesanimatorsanddesignersaresusceptibletoupdates,softwareobsolescenceandcommercialshiftsintechnologywhichhasforcedthemtochangetheirworkingmethod.Thesubjugationandadaptationofartistsworkingmethodsduetotheir‘ephemeraltools’beingchangedremotelyhasbecomeapressingmatterbecauseoftheincreaseduseofonlineandcloud-basedcreativesoftwareandstorage.Intheresearchpaper,casestudiesfromcreativeswhoexplainthattheirworkingprocessesarevulnerabletocommercialchanges.Thetoolsandmethodsthatartistsusecannowbechangedwhilstintheirhands.Artisticmethodsoftenmustadapttothechangingenvironmentofsoftwareupdateswhichchangeanartists’toolswithouttheirpermissionorwithoutwarning.Forawhile,digitaltoolshavestruggledtoanswerquestionsaboutlegacyandreliabilityasserioustoolsforartisticpractice.Weconductedstudieswithacomposer,digitalillustrator,atextilesdesignerandvirtualrealitydeveloperwhichnotetheincreasingfragilityofartists’practicethatrelyondigitaltools.Thereisgrowingconcernthatcloud-basedsoftwarenotonlychangesthetoolsremotelybutcanremoveartists’workswhichareincloudstorage,markingadifferencefromatimewhentoolswerehardware-based,aworkingmethodwasnotsoeasilylost.Thisisaprescientmatterasartistsareincreasinglymorevulnerabletocommercialchangesanddelegationoftheirworktolargecorporations.Inthepaper,artistsreflectontheirmethodsinashiftingmedialandscapewhichseestheirabilitytoproduceworkincreasinglymarginalisedbycommercialtrends.KyungsoMIN(US) UniversityofWisconsin-Madison

FromReadingtoSensing:TheArtofTechnologicalGrammatization Track9

ABSTRACTThispaperinvestigatesregionally-inflectedwaysofhowglobalizingnewmediaartreflectsonthepotentialofexperimentationswithinlanguagestoshapealternativemodesforcommunicatingexperience.Threeartprojectsthatdemystifymutualcommunicationandreinventthetechnologiesofreadingconstructmycasestudies:JapaneseartistFujihataMasaki’sinteractivedigitalenvironmentforlearningnewlanguages,BeyondPages(1995)andAR-basedmonographpublicationin2016;ChineseartistXuBing’ssoftwareprogramfacilitatingachatbetweentheuserstypingmessagesindifferentcharacters;Seoul-basedartistcollective,Young-HaeChangHeavyIndustries’sound-textanimationsdistributedinmultiplelanguagesontheInternet.Throughthecriticalexaminationofthecontentsandtheformats,Idemonstratethattheseexperimentalprojectsconvergeonthequestionofwhatrolesandnecessities,ifany,languagesretainintheageofdigitalmediacultureandpressustoradicallyconsiderthepossibilityofthereconstructionofexperiencethatreachesbeyondlanguage.InordertoexplorehowtheworksofFujihata,XuBing,andYHCHIforcenewmedia


RE:SOUND2019

technologytothecritiqueaboutmediaormedialiteracybyentailingsensorialexpansionofreadingexperiences,IdrawattentiontoinformationsemioticledbyJapanesescholarIshidaHidetaka,whodeemsmediaamatterofagraph.Hisconceptof“technologicalgrammatization”referstoanewmechanismforcontrollingthecreationofourconsciousnessasnewcommunicationdevicessubstitutethesolelyhumanactsofgenerating,transmitting,andreceivinginformation.Myanalysiscentersondistinctivewaysinwhichthesethreeartistsexperimentupontheideaoftechnologicalgrammatizationbyreprogrammingtheoperationofthereadingpractice.ThroughthisEastAsian-specificaccountofenvisioningpost-translationalcollectivity,thispaperpromptsanecessaryrethinkingofthehegemonyoflanguage-basedcommunication.JeremiahMOORE(US)

CITYSOUND Track3

ABSTRACTCitiescontainmultipleworldsthatoverlap-sometimesintersecting,sometimesnot-formingapalimpsestofenvironments:human,non-human,intentional,unintentional,andin-between.Withintheseenvironmentsliesevidenceofvarioustruthsandpowerstructures,intentionsgonerightandintentionsgoneawry.CITYSOUNDisasoundandhapticinstallationwhichcanbemountedasapublicspaceintervention,orgalleryencounter.Theworkusessoundandvibrationtoexploreandpresentthispalimpsestofenvironments,boundaries,liminalzones,places,andnon-placesevidentintherealconditionsofthecity.Theintendedsoundsystemconsistsofafourtoeightspeakerarraysurroundingafocalarea,andahapticplatformuponwhichaudiencemembersareinvitedtostand.Thespatialarrayprovidesvividsonicimages,whiletheplatform-whichcontainstactilesounddrivers-providesalayerwhichisfeltphysically.Soundmaterialrecordedwithspatialmicrophonetechniques,combinedwithsoundsfromtheartist’slibrary,willtransportlistenersinto,acrossandthroughscenes,spaces,andplacesrangingfromdirectdocumentationofphysicalscenestoimaginaryandin-betweenspaces.STAGING:Thereareseveralwaystostagethework,dependingonavailableexhibitspace.Theworkcouldbestagedasagalleryinstallationinawhite-boxscenario,orpossiblyinasite-responsiveplaceifappropriateplacecanbefound,orpotentiallyinanoutdoorspace.jakeMOORE(CA) McGill University

InvisibleArchitectures Track7

ABSTRACTStevenConnersaysthevoiceisspace.Iarguethatthevoiceismaterialinspatialform.Asitleavesthebodyitputsintooperationthematerialsandbeingsitencountersdeterminingthevolumeoftheplaceitfillsandansweringbacktoitselfandotherswithknowledgeco-constitutedthroughtheirencounter.Thevoiceentersouttodeterminewhatwasalreadythereinthewayofotherspaceandmaterialsandmakesapparentknowledgeasawayofbecomingaware,notofdiscovery.Ifthereisresistanceasthetwofrontsengage,resonanceoccursandplaceisdetermined,ifthereislessresistance,ornone,thewavespassthroughuntiltheyfindtheirrefusal.In2010,SusanPhilipszwontheUKbased,TurnerPrizeforhersitedrivensoundinstallation,Lowlands.TheworkmanifeststhroughthedislocationofPhilipszownvoice,singingthreeversionsofa16thcenturyScottishlament.ItisheardbythepublicthroughspeakerslocatedunderthreebridgestraversingtheRiverClydeinGlasgow.Eachbridgeisemblematicofthetimeoftheirconstruction;amedievalfootbridge,atraintresselconstructedduringtheindustrialrevolutionandacontemporarymotorway–allmethodsofmovingpeopletiedtotechnologiesoftransportoftheirindividualhistoricalmoments.Lowlandsisconsideredtobethefirst‘invisible’worktowintheTurnerprize.Philipszemploysacomplexdexteritythatweavestogetherthejointthreatandpromiseofseeminglydistinctprinciplesofmodernityanditscostswiththeconceptualavant-gardemoveofdematerializationthatquestionssensoryisolation.ThispaperengagesthepoliticalpotentialofartandthemyriadwaysitisdeployedbyPhillipsz,withLowlandsasthekeyexampleandhowwomen’svoicesparticularlyproduce,articulate,andclaimspacemakingarchitecturalandsocialstructuresapparentthroughresonance,passageandreception.


RE:SOUND2019

SolomiyaMOROZ(UK) UniversityofHuddersfield

ShiftingAffects:ConfrontingEmbodiedKnowledgethroughSoundandMovement Track6

ABSTRACTInthispaper,Iproposeamethodologyinworkingwithembodimentwithpractitionersfrommusicandtheatreasanapproachtocreatingopenscorepieces.Thereflectionsonthismethodologyfollowtheresultoflabsessionswhichhappenedthroughout2017-18attheUniversityofHuddersfieldwhereIstartedtore-insertmyselfinperformativesituationsintheprojectwithartists-researchersfrommusicandtheatredepartments.Ourlabsessionresearchwasfocusedonhowpractitionersfrombothdisciplinesrespond,influenceandreacttoeachothers’soundormovement.Myinitialreflectionsatthebeginningofthisresearchonlistening,perceivingandreactingasrelatedtosensinginamomentofanopenscoreimprovisationareanchoredinDeleuze’sproposalonaffect,perceptandconcept.Itis“packetsofsensations”(Deleuze,1995,p.137)thatdriveourembodiedinteractionswithoutanymomentforreflectionthatlisteningandperceivingnormallyprovides.Inourwork,conceptualisthekineticbecauseitrepresentstheshiftingrelationshipofsoundtomovementandthedifferentaffectsandperceptsthatbecomegeneratedaswellasourselvesbeingentangledinthesemomentsofembodiedinteractions.Iproposetocallthismomentofreactiontoperceptsasaconceptualkinept,borrowingthewordfromSusanaKozel’sadditionofkinepttoDeleuze’saffects,perceptsandconceptsinheressayTheVirtualandthePhysical:APhenomenologicalApproachtoPerformanceasResearch(Kozel,2011,p.208).AsIhaveintroducedconceptualkinept,Iwouldalsoliketomakeadistinctionbetweenthisasaconceptandtheconceptualreflectivethatbecomesimportantwhenwereflectonourworkinordertogeneratenewinstancesoftheopenscore.AnnaNACHER(PL) JagiellonianUniversity

Soundwalking:EntangledAgenciesand“AugmentedAur(e)ality” Track6

ABSTRACTInmypaper,Iwouldliketorevisitthepracticeofsoundwalking.ItobviouslyhaschangedsinceitsclassicformulationsoutlinedbyR.MurraySchaffer,HildegardWesterkamp(WorldSoundscapeProject)andJeanFrancoisAugoyard(CRESSON)(McCartney2014)whichwereoftenemployedbothasmethodofqualitativeenvironmentalresearchforacousticecologyandtheformofcontemporaryperformingarts(Westerkamp1974;Westerkamp2002).Iamgoingtoseehowthesoundwalkingasartisticandresearchpracticehasbeenrecentlymodified-forexamplesbypractitionerswhomobilizethelisteningregimesbeyondthehumansensibilitiesthroughconstructingtheirownapparatus,capableoftappingintotheenvironmentssaturatedwithdigitalsignals(ChristinaKubisch,SteveSymons)orthroughsonificationofclimatechangedata(#Icecorewalkproject).Thenotion“theaugmentedaur(e)ality”employedbyUdoNoll(Noll2017)willserveasatheoreticaltoolallowingtograsptheenvironmentalchangethroughthedatasonification,understoodhereasthesophisticatedprocessofmaterializationofphenomenaotherwiseinaccessiblewithsenses.Thephysicalspacebecomes"augmented"fromwithin,withthedataalreadyexistinginthespace,butnoteasilyaccessibletohumansensorium,eitherduetothedominatingformsofattentionmanagementorbecauseofthelimitsofhumansensorium.Suchunderstandingofaugmentationenablesincorporatingthenon-humanagencies,includingenvironmentalandtechnicalfactorsbeyondtheconstraintsofdirectperception.McCartney,Andra(2014)Soundwalking:CreatingMovingEnvironmentalSoundNarratives,in:TheOxfordHandbookofMobileMusicStudies,volume2,eds.S.Gopinath,J.Stanyek,OxfordUniversityPressNoll,Udo(2017)radioaporee:::miniaturesformobiles,https://aporee.org/mfm/Westerkamp,Hildegard(1974).“Soundwalking”,SoundHeritage,vol.IIIno.4Westerkamp,Hildegard(2002).“Linkingsoundscapecompositionandacousticecology”,OrganisedSoundsvol.7no.1


RE:SOUND2019

JoelONG(CA) YorkUniversity

SculptingaCloud:ResonantSoundscapesforTransgenicAeolianMicrobes Track6

ABSTRACTAirdoesnotshowitself.Assuch,itescapesappearingasabeing.Itallowsitselftobeforgetting...exceptincaseswherehumanactivityhasfabricatedtheairtobeginwith.(LuceIrigaray)Asinvisibleasitis,theairisinfact‘material’inmanyfacetsofart,scienceandtechnology.Asamediumforlife,thebodyisentangled/enwindedinitsbreath,andasanarchive,theatmosphereislatentwithaspectrumofbenigntotransgressiveagentsofallscalesandcompositions.Ourperceptionoftheairasahistoricalvoidiscounteredbyempiricaldemonstrationsoftheairasavolatileandchemicaldatabase;theaeolianwindasconversant,articulateandnon-silent;ourbodiesandthoseoftheaerialvehiclesweconstruct,perturbationswithinthiscapricioussensorium.Aninfiniteresource,theatmosphereexistsasmuchasasitespecificexperienceasitisitselfametaphorforourtranscendentalimmortality.Sincetheadventofcomputation,theentitiesthatexistwithinthismediumoffluxdosoinatriangulationofforms,invivo,invitroandinsilico.Computationalmodellingandenvironmentalsensingcoexistintheskies,inthelaboratoriesandindigital/virtualenvironments.AnyenvironmentalstudyoftheAerialMicrobiomewillhaveindulgedinamixtureoftheseprocesses,throughbytheirconstantfluxintheelements,theseorganismsareliminal,invisibleandtransitional.Theyarealsoafabricationofanthropogenicclimateshiftingandenvironmental(d)effect.ThefirstgeneticallymodifiedorganismtoeverbereleasedintotheenvironmentwasFrostban,astrainofpseudomonassyringaethathaditsice-nucleationpropertiesknockedoutsothattheywouldbelessharmfultoplants,thoughtheeffectonitscloud-seeding/snow-formingattributeswerefarlessdocumented.SculptingaCloudisaprojectthataimstoexplorecloudformationviathesimulationandlabexperimentationoftheice-nucleationeffectsofp.syringaethroughafluidmedium.Whileproposingnewformsofeco-politicalnarrativesaroundelementalmedia,theprojectalsoaimstoadoptamultiscalar,multi-modalandneo-transcendentalistapproachtodatasonificationofaeolianactivity.ThepaperthusdescribesaninstallationattheKittredgeGalleryattheUniversityofPugetSoundinTacoma,Washington(2018)wheretheamulti-channelparametricsoundscapewascreatedviathesimulationofbacteria-inducedicenucleationinsuper-cooledwater.Adoptingthesebacteriaforgrowthinthegallery,theprojectalsoreflectsademocratizationoftoolsandtechnologiesforhackingtheenvironmentor‘programmaticearth’.Italsodescribesaliminalandtranscendentalistaestheticsofcarewithinalargerframeworkofnascentbioartpractices.LenaORTEGA(MX) Arte+Ciencia;UniversidadNacionalAutónomadeMéxico

EnvironmentsintheAir Track6

ABSTRACTThereisalimitinthepossibilityofknowingthe“other”,inspiteofthefactthatweseeandmakeexperiencesof/withit.Wewillneverknow,neitherbythesensorium,norbymeasuringandweighing,northroughconcepts,whichistheenvironment(Umwelt)ofnon-humananimals.Wecannotmaketheexperienceoftheenvironment,oftheirenvironment.However,wethink—orwanttobelieve—thatitispossibletomakeapproachestootherworlds.ThephilosopherKarlPopperstated,atthetime,thatitispossibleandjustifiedtomakeinferencesabouttheanimalworldinsofarashomologyimpliesthatanimalandhumanbrainsareevolutionarilyrelatedorgansthatperformsimilarfunctions(forexample,respirationordigestion).Infact,tryingtoassertthathumanbeingsaretheonlyanimalsthatpossessUmwelten(theseenvironmentsarealsounderstoodasperceptuallyexperiencedsubjectivestatesthatmakeupasurroundingworld)wouldrequireadditionaltheoriestoexplainwhyotheranimalsshouldbesofundamentallydifferentfromus.EthologistJakobvonUexküll,inthefirsthalfofthe20thcentury,proposedanapproachtoelucidatethemeaningoftheenvironmentofanimalsfromadifferentperspectivethantheanthropocentricone:TheUmweltastheenvironmentofmeaningsthatareonlyaccessibletoaparticularsubject.Soundisextremelyimportantinthepluralitiesofthesignificantenvironmentsofbirds,intheconstructionoftheirUmwelten.Birdsthatinhabitcitieshaveneededtoadapttheirsongsnotonlytothereverberationsofthetechnospherebutalsototheconsequencesofit—globalwarminganditseffectonmigrationforexample—.Thispaperseekstoquestioncontemporaryanthropocentrismanditsconsiderationoftheworldasanexclusivelyhumanspacefromtheperspectiveoftheadaptationandconstructionofthesignificantsonorousenvironmentsofbirds.


RE:SOUND2019

SolveigOTTMANN(DE) UniversityofRegensburg

TheInhabitantsofColosseum(2018):CreatingHistoricalConsciousnessbyaSoundingSocialSculpture Track3

ABSTRACTInMarch1945animprovisationalsatelliteconcentrationcampoftheKZFlossenbürgwassetupinRegensburg.About400inmatesfrom,e.g.,Poland,Hungary,Belgiumandothercountrieswereinternedintheballroomoftheinn“Colosseum”inthecitydistrictStadtamhof.TodotheirforcedlabortheinmateseverydayhadtocrosstheStoneBridge,wearingwoodenshoes.InJuly2018,UkrainianpoliticalartistNikitaKadaninvitedthecitizensofRegensburgtowalkintheshoestheinmatesof1945:About100peoplecrossedthecobblestonebridgeinwoodenshoesinsilence;asilencethatwasfilledwiththeloudclatteroftheshoesbuildingasounding‘socialsculpture’attheexactsamespotdisruptingthedailyroutineofinhabitantsandtouristsonthehighfrequentedbridge.Consequentially,theartistturnedtherecordedclatteringsoundsintoasoundinstallation.Thisprojecttouchesandraisesseveralquestions.HowtocommemorateandnarrateNaziatrocitiesandtodealwiththe“LimitsofRepresentation”(Friedländer1992)?Howtodealwithhistoricaleventsthatlackdocumentationandtheawarenessofpeople?Howtocreatehistoricalconsciousnessandhowtouseartisticresearchforhistoricalworkanddocumentation?Kadandecidedtocenteronasinglesoundandthusmakeshistoryhearableandtangible.Heusestheclatteroftheshoesasa“specificauditivecode”(Müller2012:454)representingthesufferingoftheinmates.Thus,Kadancreatedasonicsculptureandsonicinterventionwithintheurbanspacethatdemandstherecipients,i.e.thecasualbystandersonthebridge,toreflectontheseenandheard.Bydoingso,heplacesemphasisoncreatinghistoricalconsciousnessratherthanonknowledgetransferthatallowstherecipienttogainhis/herownrational-sensual-emotionalperception(Maier2016:12).Thepaperwantstodiscusstheseaspectsandreflectonthepossibleimplicationsandimpactsofthissoundingsocialsculpture–especiallytodayastheurbanspacebecomesanarenaforrightwingparolesandnoiseagain.HaeyunPARK(US) TheGraduateCenter,CUNY

ActivatingObjectswithSound:NamJunePaik’sDaegamNoriPerformancein1990 Track1

ABSTRACTOnahotsummerdayinJuly20,1990,NamJunePaik’sperformancetitled“DaegamNori”tookplaceatthebackyardofGalleryHyundaiinSeoul,Korea.ThisperformancewasinmemoriamofJosephBeuys,aclosefriendandcollaboratorofPaik,whohadpassedawayin1986.DaegamNoriisaKoreanshamanistritualinwhichashamanreunitesthedeadandthelivingthroughsinginganddancing.AccompaniedbythesoundofKoreanpercussioninstrumentsandthesingingoftheshamanKimYoosun,Paiksetupapianoaltarbylayingtheinstrumentdownonthegroundandplacedacementhatontopofit,whichhesetonfiretosignifyBeuys’splanecrashingonCrimea.Forthisperformance,Paikalsocreatedandplayedhisowninstrument:aftertyingupbrasswashbasin,servingbowls,andachamberpotunderawoodenbeam,Paikhitthemwithlong-stemmedsmokingpipes,emittingapercussivesoundcollage.ThispresentationseekstoanalyzetherelationbetweenthesoundsandobjectsinPaik’sperformance.Whiletheobjectsusedintheperformance–thecementhat,thefoldingscreenwithphotographprintsofBeuys’face,Paik’sdrawingoveramapofCrimea–havebecomecollector’sitemssoldbycommercialgalleries,theyhavebeenseparatedfromthesoundthataccompaniedthemintheoriginalperformance.Furthermore,theemphasisonvisualitywithinthedisciplineofarthistoryhasoftenneglectedtoanalyzethesonicelementsofthiswork.Ratherthanconsideringtheobjectsmerelyasremnantsormemorabiliaoftheperformance,mypresentationwillshowboththeimagesoftheobjectsandthevideoclipoftheperformancetoillustratethewaysinwhichthesoundoftheshaman’ssingingandPaik’sinstrumentactivatetheseobjectstoinvokethememoryofthedeceased.


RE:SOUND2019

ChristianePAUL(US) TheNewSchool;WhitneyMuseum

Programmed:HistoriesofthePost-digitalNow Track1

ABSTRACTThetalkwillexploreconceptsandchallengessurroundingtheexhibition“Programmed:Rules,Codes,andChoreographiesinArt,1965–2018”(WhitneyMuseumofAmericanArt,September27,2018-April24,2019),whichestablishesconnectionsbetweeninstruction-basedworksofconceptual,video,andcomputationalart.Ratherthanfocusingondigitalpracticesperse,theexhibition“Programmed”strivestoestablishhistoricalconnectionsbetweenconceptual,video,anddigitalartthatmaynotbeimmediatelyobvious.Itcoversabroadrangeofworks,includingpaintings,weavings,drawings,dancescoresandsoftware,aswellasearlylightandTVsculpturesfromthe1960sandlarge-scalevideoandimmersiveinstallations.Whilenotalltheworksaretechnological,theyarestillinformedbyhistoriesofartandtechnology.Dividedintotwosectionsexploringdifferentunderstandingsofaprogram,theshowtakesalookathistoricaltrajectoriesthathaveinformedtoday'sdigitalart:“Rule,Instruction,Algorithm”tracesrootsofdigitalartinconceptualartpracticesandtheiremphasisoninstructionsandideasasadrivingforcebehindthework;while“Signal,Sequence,Resolution”focusesonthemovingimageandthecodingandmanipulationofimagesequences,thetelevision,signals,andimageresolution.Thetalkwilltakeanin-depthlookatthestrategiesforrepositioningandrecontextualizingcanonicalworksofconceptual,minimalist,andvideoartwithindigitalarthistoryandtheresearchapproachesinvolved.Thepresentationwillalsouse“Programmed”asacasestudyforaddressingchallengesinvolvedintheconservationofworksforanexhibitioncontext,beitinthesenseofphysicalrestorationorthepreservationofexperience.AnaPERAICA(HR)

EchoandSpaceDescriptionoftheBehindBackReality Track4

ABSTRACTThepostdigitalphotography,asIwroteelsewhere,emphasisespreviouslyhardlyaccessiblepartofthereality:therealitybehindone’sback.Thisis,inparticular,visibleinselfies,butalso360video.Thisworldbehindourbacksenteredtheperceptionprogressively.Itwasvisuallydepictedviavisualmirroring,alsoinClaude’smirror,inafixedrepresentation,ofaphotographyorstaticfilmframebringingtheunsettling,tobefinallyreinventedbycontemporarymirroringmediaofthemobile,byintroducingafrontcamera.Withouttheassistanceoftechnology,anticipatingthecontinuityoftheexistenceoftheworldbehindourbacks,visualsenseisaccompaniedbyothersensesthatupdateinformationonacoustic,hapticorolfactorychangesoftheenvironment.Twosensesleadinprovidinguswithdataofaconstant360reality,assuringustherealityaffairremainthesameoratleastsimilarasitwereattheoccasionoflasttimecheckedbyavisualmaster-sense;soundandsmell.Theselapidarysenses,besidesconstructingournotionofimmediatespace,arealsoalarmingifthereisaninterruptioninthecontinuityofperceptionofplacerecorded.Inthesecasesthereverberationsofsounddescribethespace,intermsofdistance,whereassmellsintermsofqualities,butalsoinfluencingtheimagingofthespace.Consequently,thespace,visibleandinvisibleiscapturedastheoriginalmulti-sensorialenvironment,consistingofsounds,smellsandtouchesthatstandtheretoconfirmtheoriginalvisualinformation.Soundisheremoreprecise,itcandescribethedistance,shapeandsurfaceoftheroom-intermsoffrequency,intensity,reverberation.Besidesshapeandform,wecanalsounderstandameaningofthespaceasofficialorprivateaccordingtothe-echo(BlesserandSalter,2007).360video,aswellasselfies,enhancebackvision.Still,theincoherenceofperceptionproducesoftenthesameoldshocksonwhichhorrorgenrefunctions;ofthesuddenchangeinthesoundbackground,leadingusbacktoWillsdefinitiondorsalityas;“anameforthatwhich,frombehind,fromorinthebackofthehuman,turns(it)intosomethingtechnological,sometechnologicalthing”(Wills,2008).Willscontinues“butwhatisbelievedcannotbeseenwithoutturning,knowingwhatis“inback”recognisesthecomposedartifice,adoublemirror,henceaninvertednarcissism.”Thispresentationre-investigatestheroleofsoundintheselfiephotographyincludingsoundandspinningvideo(panorama,360).


RE:SOUND2019

MarianaPÉREZBOBADILLA(HK) SchoolofCreativeMedia,CityUniversityofHongKong

ToHearandtoBeHeard.AnApproachtoMicrobialPerceptionthroughArtandBiologyArtifacts Track6

ABSTRACTStandingonapost-anthropocentrictraditionfromHarawaytoBraidotti,inthisexerciseofdisplacedsubjectivity,MediaArtbecomesthepossibilityformaterialthinkingaboutmattersofperceptioninrelationtomicroorganisms.Itcomparesformsofperception;first,whatdoesitmeantohearsomething?Analyzingthespeculativeandscientificpracticesthatsearchtohearorsonifybacteria.Andsecond,whatdoesitmeantohear?(formicroorganisms)Whichkindofperceptionsofvibrationconstitutesmeaningfulhearing?IntheMediaArtworksincluded,aWetMedialandscapespeculatesmateriallyonnonhumanperception.Thistwo-foldresearchfirst,looksatMediaArtdevicesthatimagineoriginalformsofrenderingaesthetictheinvisible.Ofhearingorsonifyingbacteria,problematizingthemediationofdata.Andsecond,itaskswhatitmeanstohear.Itexpandsournotionsofhearingtotheperceptionoftheenvironmentthroughsoundwaves,withatympanicears,orinthebacterialbodieswhosemetabolismisaffectedbysoundwaves,consideringhearingasabodilyexperienceofvibration.Thiscriticalperspectivedepartsfromaselectionofcasestudies,thatworkonwideninghumanperceptionandtransformingourperspectivesfrommicroorganisms.NewMediaArt,becomesthespaceofpossibilityforArtisticPracticeasresearch,followingBorgdorff,tospeculateaboutperceptionandsound,towidenourperspectivesinpost-anthropocentriccreativitygroundedinthematerialityoftheseartworksspecificallydevelopedtechnologiesandthematerialpossibilitiesofthelivingmatter.AngélicaPIEDRAHITA(MX) UniversidaddeMonterrey

RevisitingtheStereoscopicArchiveasaProustianMemoryRecallingDevice Track8

ABSTRACTStereoNostalgiaandTelematicRidesAlongtheCaribbean,isanartprojectthatconsistsof3stereoscopicvideoessaysandasetofstereoscopicphotomontagesthatstudytheUnderwood&UnderwoodarchivalfromtheUCRMuseumofPhotography.Thispaperexploresthesenseoftemporaldepthachievedthroughtheinteractionbetweenthestereoscopicphotographsandtheplaceswheretheywereshotacenturyago.Whilevisitingtheplaceandshowinglocalsthearchivalmaterial,observerstriedtolocatetheimagesincoherentnarrations.Intheprocess,theyunfolddifferenthistoricallayersofthecityaswellascontemporaryissuesabouttourism.Thetechniqueseemstobringupstrongexperiencesofthecity,inconstantdialoguewiththelandscape.Thesimulationofdepthdrawsnearthevieweranawarenessoftimethatishardlyachievedthroughtheimagealone.Thepaperaswellastheproject,showshowHolmesstereoscopeapproacheshistoricalmomentsofthecityignitingsomesortofProustianmadeleinemomentwhenitcomesincontactwiththebody,inthiscasedesaccadicmovementsoftheeye,tryingtoachievecoherentspatialrelations.Stereoscopictourswerepre-cinematographicmediathatallowedthesimulationoftravelingbymeansofopticalillusions.Precedingthecurrentvirtualtours,thesetourstriedtocategorizetheworldfromamarkedlycolonialperspective,simplifyingandgeneralizingvisitstoothercountries.TheuniquetouraroundColombiawasproducedbythecompanyatahistoricalmomentwereColombianCaribbeanportsgainedpoliticalimportanceduetotheUnitedStatesacquisitionofthePanamáCanal.Throughoutthearticleaswellasthevideos,aspirationsofeconomicdevelopmentfromtourismaremadeevident,unveilingthecorrespondenceoftheproductwithcontemporarypracticesofvisualmemorybasedontheexploitationoftourism.Theconceptofimmersionlinkedtotechniqueandtourismindustryisreviewed,insearchofconceptsthatrespondtomercantileandtechnocraticcurrentsoftherevivalofstereoscopyinvirtualandaugmentedreality.AngélicaPIEDRAHITA(MX) ErickVÁZQUEZ(MX)UniversidaddeMonterrey

Heartprint:AcousticTacticstoTuneinWithinEachOther Track6

ABSTRACTThispaperproposesanacousticapproachtomattersoftheheart,attemptingtofilltheinsufficienciesoflanguagetocorrelatethemuscularorganfunctionswithinaffectivityhealth.Byfollowingthecardiacrhythm,


RE:SOUND2019

wehavebeenregisteringitsfrequency,metricandharmonywhichgivestestimonyofasumofsingularitiesrevealinganirreduciblyanimalthatembraceamusicalexistence,thereforeanaestheticalbeing.Throughoutthepresentyear,wehavebeenconductingauscultationpractices,whichconsistonattentivehearingclinicsinwhichweregisterandarchivecardiacrhythms,inordertoconductresearchonthewideperceptionoftheheartasanorgan,asmuchasasymbol.Throughouttheclinic,wegainaclosecontactwithouracousticsubjects.Weapproachanemotionaldimension,bymeansofanattentivehearing,aswellasallowingthemtoheartheirownbeatingorgan.Wedevelopedprivatesessionsinwhichweapproachthesubjectstotheexperienceoflisteningtheirownheart.Meanwhile,theydescribetheiremotionalhygieneroutines;waysinwhichtheykeephealthyemotionalbalance.Furthermore,wealsosetuppublicandopensessions,wherefamiliesheardtheirheartsasagroupexperience.Alongtheseclinicalstudieswediscoveredacorrelationbetweenthegraphicandacousticrepresentationsoftheheartbeatandthecharacterofeachindividual.Thisheartprints–aswedecidedtocallthem–showsoundlayersparticulartoeachperson.Oursensitivitytotheheartprintsgrewstronger,asourhearingbecamemoreandmoretunedtothemurmurs,turbulenceandbasicsoundsofthevalves.Duringtheclinicalsessionsacertaintensionwasalsorevealed,atensionbetweenourpresenceandthesubjectofourauscultation,whichwebelieveisasymptomofthehistoryofthestethoscopeitself.Thestethoscopewas–andstillis–asolutiontotheproblemofhavinganexternalimageofthepatient'sinnerparts.Itwasconceivedtoprovideatechnicaldistancebetweentheheartandtheear,withoutdisturbingasenseofmoralcomfort.Ourinterestinthishearingsessionsis,therefore,aphysiologicaltranscendencecloselylinkedtoanexistentialdimension,aconsciousnessoftheindividualalongthelimitsofabody.ArkadiuszPÓŁTORAK(PL) JagiellonianUniversity

SonicSchizorealism.ASchizoanalyticalPerspectiveonCiliaErens’SoundWorksandBinauralRecording Track7

ABSTRACTSincetheearly1980s,theDutchartistCiliaErenshascarriedoutexperimentswithbinauralrecordinginclosecollaborationwithsoundengineers.Thisgivesamedia-archeologicaledgetotheoeuvreofanartistreveredforherminimalistapproachtosoundediting.AccordingtothemediatheoristFriedrichKittler,itwasnotuntiltheadvancementofbinauralregistrationthathumansbecamecapableofstoringsound“beyondwordsandmelodies—thecolorationsofinstruments,sonicspaces,andevenabyssalstochasticnoise”.OnecouldsaythatinErens’workthispossibilityturnsintoarule:ifstoringthesound-itselfbecomesfeasible,melodiesandwordshavetowanandmakeroomforeerilyexactdetails.CiliaErens’works—includingsoundwalksandfree-standingsoundinstallations—canhardlybelabeledasmusical.Thereisverylittleofclassicallyconceivedcompositioninanytracksheemploys.Still,itremainshighlydebatablewhetherherpracticesupportstheKittlerianaccountofsonicmedia,accordingtowhicheverythingthatproducesmeaning(forinstance,musicalcompositionorspeech)isadialecticalnegationofthesound-itself.AlthoughErens’worksarefarfrommusicalpieces,theyarenotmeresoundscapeseither.InworkssuchasTimelapseChina(STEIM,Amsterdam2017),theartistblendsrecordingssourcedinvastlydifferenttimesandplacesinordertoenvelopthelistenerinafully‘synthetic’soundspace.Ifsuchlisteningexperiencesmightbecompared–matchingKittler’saccountofbinauralrecording–toastateofinducedpsychosis,wherebythelistener’shead“becomesonewitharrivinginformation”,thismeanspreciselythatascomposedworkstheyprovideaccesstothevery“real”thatKittlerassociatedwith‘sound-itself’andplacedinadialecticalrelationshipwithmontage,melodyetc.Assuch,Erens’workschallengeFriedrichKittler’stakeonLacanianpsychoanalysis—withthetrialecticsofthereal,symbolicandimaginaryattheforefront—andinsodoing,theyaskforamorehorizontal,“schizoanalytical”theorizationofsonicmedia.Drawinguponthe(anti-)KittlerianinterpretationofErens’works,IaimtosituateheroeuvrewithinatraditionofcontemporaryartthatIchosetocall“schizorealist”,hintingatitsaffinitytoGillesDeleuzeandFelixGuattari’sphilosophy.Iusetheterminquestiontodenotepracticesthatabandonsymbolizationinfavourofindeterminacy,“experience”infavourofrepresentation,postmediainfavourofpictoriality,andhorizontalsubjectivitiesinfavouroftheverticalsubject.Althoughthelabelappliestoworksofvastlydifferentartists(say,fromJohnCagetoPierreHuyghe),inmypaperIamgoingtosketchaparticularlineofitsdevelopment.ThisgenealogybeginsinCologneintheearlyeighties,whereCiliaErensandMariannevanHooff’searlycollaborativeworkwaspresentedalongsidepiecesofemergingvisualartistsfromGermanyandtheNetherlands,whoseelaboratetreatmentofspaceand‘environmental’approachtoexhibition-makingmarkedadeparturefrom‘dry’,language-basedconceptualartaswellasstatic,verticalnotionsofsubjectivity.


RE:SOUND2019

DidianaPRATA(BR) UniversityofSãoPaulo

ArchivingandCuratingActivistDesignonInstagram:The2018BrazilianPresidentialElectionVisualNarratives Track8

ABSTRACTThispaperaddressesthenewvisualarchivesthatemergedinthecontextofthedissidentdesigncreatedduringthe2018presidentialelectioninBrazil.Consideredthemostfratricidedisputeofourpoliticalhistorybetweentwoopposingcandidatesrepresentingcompletelydifferentpointsofview,thesetwogroupsfoughtarealbattleonsocialnetworks.Thematerialcollectedinthisresearchfocusedonvisualnarratives,onmessage-images(postersofthenetworksera)producedbyordinarycitizensandbyactivistgroups.Manycollectivesofartists,designersandindependentgroupshavealsoorganizedtheirmessage-imagesusingalgorithmcriteria,with#s,onInstagram(#designativista,#desenhosopelademocracia,#designdissidente,#coleraalegria,#elenao).ThiscuratorialworkaimsatdiscussingthenewvocabularyofdissidentdesignonInstagram.Thesenarrativesrepresentthedatabaseaestheticsandofferarichmaterialtodiscussthenewstatusoftheimageinthemasscommunicationofsocialnetworks.TheyhaveapotentialtorepresentthedigitalgraphicmemoryofBrazilianpolitical,socialandartistichistory,andconstituteafundamentalelementinthearcheologyofaestheticsofdissidentvisualnarratives.Throughvisualexampleseditedfromthemain#smentionedabove,thispaperintendstodiscusshowtoclassifyandarchivebigamountsofdatathatarealreadybeinglostintheconstantstreamofsocialnetworks.ThearticlealsosuggestsnewparametersforcatalogingimagesbyusingArtificialIntelligenceandsupervisedlearningmachinestodevelopimageclassifiersspeciallycreatedforthisresearch.JulieannaPRESTON(NZ) MasseyUniversity

“Breath-taking”:Sound-writingtoSound-knowing Track6

ABSTRACTTheyhandedmeapamphlet.Itdescribedwhatwasalreadyhappeningrightinfrontofmewithunfamiliarwords,clinicalclarity,sanseriffontandatoneascoolanddistantastheroom’shygienicdécor.Thewordsinthepamphletweremeanttomakethiseventmorerational,moresensible;toholdmybodyinananalyticalmodeandatbayfromthesensate.Bigwordsthatwhenspokensoundednothinglikethesoundtheyreferredto.Words,absentofmetaphor,classifiedtheseeminglysimpletransitionfromlifetonot-life,wheretheinnatefunctionalimpulsetodrawinandthendrawoutisabated.Withmyintellectadequatelydistracted,Iresistedwithfullforcetosound’sbeckoningaffective,emotionaltrigger.Thoughtheexperienceofbreathleavingabodyistheoriginoftheperformance“breath-taking”(2019),mypreviouscreativeandscholarlyworksrelativetobreathandthewrittenorspokenwordinclude:“RPMhums”,whereIemulatedtheexhaustingvibrationsofair-condensermotors;“Aue”,aperformanceinvestedwithMāoriconceptsoflife,circularbreathingandthehealthofarivermouth;“Tryst”(withAndyLock),aperformancevideoorchestratingahumansyncopationwithtwomedicalrespiratoryventilators;“wwwww”(withJoshuaLewis),aliveartvideothatreadsthematerialofawovenmetalfenceassonicvocablesthroughtheatmosphereofclimate,politicsandhistory.Eachworkexploresthepotentialofaseeminglyinertmaterialtoexhibititsownvibratoryinhalation."breath-taking"considerstheinverse:howthehumanbodyapproachesastateofbeingdead.It'sperformativegestureisoneoftaking,editing,removing,redactingabreath-infusedtextaccordingtothefourphasesoutlinedbythatpamphlet.Ontheoccasionofthisconference,Iproposetointroducethetheoreticaltenetsthatshaped“breath-taking”andperformtheworkpubliclyforthefirsttime.MyworkpaysrespecttoBeckett’splay“Breathe”(1969),AbramovićandOlay’sperformance“BreathingIn/BreathingOut(DeathItself)”(1977)andSchwitters’poem“Ursonate”(1932).ItdrawsfromOlsen’snotionofprojectiveverse(1950),Goudouna’scriticalinquiryofBeckettandbreath(2018),Kapchan’stheoryofsoundwriting(2017)andDworkin’s2009volume“TheSoundofPoetry/ThePoetryofSound.Usingtheseresources,Iposition“breath-taking”todemonstratethepowerofsoundtoshiftcognitiveunderstandingtoembodiedknowinginthecontextofahighly-chargedhumancondition.


RE:SOUND2019

GailPRIEST(AU) UniversityofTechnology,Sydney

TheNowofHistory:TowardsaTomographicWriting Track1

ABSTRACTSonicartconcernsitselfwiththeexperienceoflistening,aperceptualphenomenonmarkedlydifferenttothevisual.However,themajorityoftheoreticalcommentaryonsonicartutiliseshistoricalandtaxonomicaltacticsdrawnfromthatofthevisualarts(andmusicnotallofwhichisconcernedwiththephenomenonofsoundsbutratherwithaconstructedmusicologicalsystem).Justasthehyperactive,intertextualwritingofthe1990sattemptedtomeettheaccelerated,fragmented,cross-connectiveexperienceof‘new’mediaat,throughbothformandcontent,itisproposedthattheremaybemoresound-sensitiveapproachesandformatstowritingabouttheexperienceoflisteningthatbetterdocumentthetemporalandsubjectivelyimplicatedaspectsofsonicart.Inspiredby,andexpandingon,SaloméVoegelin’sproposalforanimmersiveand‘predicative’approachtowritingaboutlistening(2010,2014),thispaperproposesthenotionofatomographic,asopposedtoatopographic,methodology.Atopographicapproachseekstomapandcontestterritories,whereasatomographicwritingoffersasenseofthesonicactcompiledfrompenetrativecross-sectionalslices,attemptingtocommunicatetheexperiencefromwithin.Thispaperwillofferanalysisofanumberofwritingsthatapproachthisterritory,includingthoseofVoegelin,DanielaCascella,JoannaDemers,BudhadityaChattopadhyay,KodwoEshunandMatthewPHopkins.Itwillalsopresenttheauthor’scurrentdoctoralresearch,LanguagesofListening,apractice-basedprojectcombininglinguisticanalysisofsemi-structuredinterviewsaroundlisteningintentionsthatinformphenomenologicalcreativewritingandinteractivee-literatureexperimentsenactingthistomographicconcept.Bydevelopingalegitimateplaceforrigoroustomographicapproachesthatcomplementthepredominanttopographicmode,culturalcommentaryaboutsonicart,andbyextensionmediaart,maybeexpandedtocapturetheverysenseof‘now’withinthelinearcompressionofthehistoricalflow.DijanaPROTIĆ(HR) UniversityofRijeka

ExplorationofSoundArtArchiveontheExampleofMedia-Scape Track8

ABSTRACTUsageofdigitaltechnologyandvisibilityontheInternetisacommonpracticeincontemporaryartbutstillmanyartworksconnectedwithsoundartareinprivatearchivesandtheyarenotaccessibletowideraudience.Inthispresentation,IwillanalyseandexploreaudioarchivesonexampleofMedia-Scape.Media-ScapewasaninternationalmeetingofmediaartistswhichtookplaceinZagreb,onceayearbetween1993and1999.Curators,foundersandorganizerswereIngeborgFüleppandHeikoDaxl.SoundartwasinfocusoftwoMedia-Scapes.FirstatMedia-Scape5“Control.Shift.Escape”whichwasinNovember1997.Onthisexhibition,therewasapresentationofartisticCD-ROMsprojectswhichwereapopularartformatthatperiod.TitlesofCD-ROMswere:OttosMops(Trotzt),UrbanFeedback,Vortex24hrsBerlin,LandscapeToday-ElectronicLandscape,KritzkratzCity,BerlinConnection,Babel,BuildinLight.Second,atMedia-Scape7(1999)whichwasorganizedincooperationwiththe20thMusicBiennaleZagreb,InternationalFestivalofContemporaryMusic.MaintopicofthisMedia-Scapewassoundart,andcurators’focuswasongraphicalsound,soundandimage,soundandspace.Inthispresentation,Iwillanalyseartworksconnectedwithsoundartfromseveralperspectives.Firstonewillexplorewhichartisticmethodsandstrategieswereusedtocreatesoundartprojects,sincethereareseveraldifferentartisticapproachesconnectedtosound.Thesecondonewilldiscusswhichsoundartthemeisrelatedtoeachoftheprojects.Thethirdpartofthepresentationwillanalysetherelationshipbetweensoundandimage.Also,onthisexampleIwillanalysewhatisthebestwaytopreserve,collectandre-exhibitartworksthatarepartofsoundartheritage.OntheexampleoftwoMedia-Scape,IwillanalysewhicharemainproblemsconnectedwithsoundartarchivinginCroatiancontemporaryart.


RE:SOUND2019

MartinaRAPONI(NL) Noiserr

Noiserr:CaseStudyofaLivingProcessualArchive Track8

ABSTRACTNoiseisaninterdisciplinaryreadingandresearchgroupbasedinAmsterdam.Fortwoyearsnowithasgatheredonamonthlybasis,bringingtogetherpeoplewithdifferentbackgroundsandlevelsofknowledgeaboutthegeneraltopic"noise"andunpackeditbyofferingaseriesofindexedmaterials,cyberneticallynavigable,andembeddingparticipants'suggestionsandreferencesastheprojectdeveloped.Noiserrisanever-expandingarchiveoftheoriesandpracticesaboutnoise,whichoffersthepossibilityofbuilding,throughnegotiation,epistemologicaltrajectoriesfortheunderstandingofnoiseanditsrelatedcomplexities,intensionbetweenobjectivetheoreticalexplanationsandsubjectivepositions,leadingtoaseriesof"truths"whichmightseemmutuallyexclusivebutinterrogateoneanother,andfeedbackintoeachother,continuously.TullisRENNIE(UK) City,UniversityofLondon

Socio-sonicInterventions Track4

ABSTRACTHowcansoundartspracticesfunctionmoreeffectivelyasparticipativeplatforms?WallsOnWallsisacommunity-engagedartsinitiative,co-foundedbycomposerandpractice-basedresearcherTullisRennieandindependentvisualartistLaurieNouchka.Theirprojectsproducemultiply-authoredartworks,whichinturnactasframeworksforsocialaction.Thiscollaborativeworkingmethodasksparticipants(mostlynon-professionals)howtheyrelatetotheirsurroundingenvironment,usingsoundandimageastoolsofengagement.Eachprojectencourageslocalcommunitiestoexploreandengagewiththeirlocalareainwaysthatareoftennewtothem.Thiscanrevealnewunderstandingsofhistory,cultureandtheevolutionofplace.WallsOnWallsprovidesparticipantswithacompositionalvoice,andaplatformtoenactaroleofauthorwithintheartisticprocess.Soundisunderstoodtoarticulatethewidersocio-politicalcontextsfromwhichitemanates.Locationrecordingsandaudiointerviewsbecomewaystolistentolocalissues.Compositionbecomesaspaceforavarietyofvoicestoco-existinparallel,andtobegintoengageindialogue.ClaireBishop(2012)challengestheperceptionthatparticipatoryartformsaresocially,politicallyandaestheticallyemancipatory.Bishopsuggeststhatprojectsshouldretaindisciplinaryintegrityunderscrutinywithtwoseparatelenses:theartisticandthesocial.Shestates:‘thisartmusttreadafinelineofadualhorizon–facedtowardsthesocialfieldbutalsotowardsartitself...ideallyalsotestingandrevisingthecriteriaweapplytobothdomains’(Bishop,2012:273-4).ThispresentationaddressesBishop’spropositioninrelationtoWallsOnWalls,alongsidetheconceptof‘indirectparticipation’,theinfluenceofthecomposerinthefacilitationofco-authorship,andtheroleoftheartist-researcherinpractice-basedresearch.Bishop,C.(2012)ArtificalHells:ParticipatoryArtandthePoliticsofSpectatorship,London:Verso.ClaudiaROBLES-ANGEL(DE)

HumanBodyasaSoundInstrument Track2

ABSTRACTAbstractBasedontwoofmyperformancesSKIN(2014)andMINDSCAPE(2017),thisproposalfocusesonthetensionbetweentheusageofhumanbodyanditsdesiretobecomeanartificialentityinthecurrentdigitalera.Basedonbiofeedbackmethodsmeasuringphysiologicalparametersofthehumanbody(e.g.brainwaves,muscletensionorskinmoisture)vianewtechnologies,thesetwoperformancesproposetheusageofthehumanbodyasaninstrumenttriggeringsoundviathemeasurementofeitherskinmoistureorbrainwaves.Asbothphysiologicalactivitiesaredirectlyconnectedtothenervoussystem,imperceptibleelectricalsignalsstreamingacrossthebodyaremeasuredandstored.Bymeansofcomputeralgorithms,theseusuallyimperceptibleinternalintensitiesinsidethehumanbodyareprojectedtoasoundenvironmentthatbecomesthespacewhereinnerandsubtlehumanmanifestationsemerge.Inbothperformanceshumaninternalimpulsesaretransformedintoaudioandvisualeventsthatchallengeourperceptionbetweenhumanandnon-humanelements.SKIN:AfemaleperformerinteractswithaGalvanicSkinResponseinterfacemeasuringskinmoisturevariations,whichindicatepsychological/physiologicalarousal,(e.g.stressorrelaxation).Thesound


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environmentiscreatedfromvaluescomingfromtheskinresistancetransformedinreal-timebyheremotionalstates.Visualsarecreatedbymicroscopicimagesofherskinrecordedinreal-time.MINDSCAPE:AfemaleperformerinteractswithanimmersivesoundenvironmentandalightstructuremadebyelectroluminescentwiresviaaBrainComputerInterfacemeasuringherbrainwaves.Likemostpeoplenowadays,sheappearsisolatedandhookedtoacomputer,herbodyconnectedtoandsurroundedbylightwires,creatingadistancebetweenherbodyandtheenvironment,symbolisingthedesiretobecomeamachine/cyborgthatattachesartificialtechnologiestoitsownstructure.Althoughsheappearsrigidonstage,herinneremotionalstatesgivecontinuouslymovementandtransformationtotheaudiovisualenvironment.JøranRUDI(NO)* NOTAM

Representation,ComplexityandControl Track1

ABSTRACTModernsonicartisheavilyinfluencedbydigitaltechnology,andwehaveseenmajorchangesincomposition,construction,performanceandmediationofaudioartsincethedigitalwatershedstartedinthemid-1990s.Onecanarguablysaythatsonicartdependsondigitaltechnology.Whenattemptingtounderstandthesechanges,onemustconsiderthematerialityoftheworks,thetoolsusedtocreatethem,thetechnologicalaffordancesthatmaketheircreationpossible,andthechangesinthesocialcontextsthatfacilitatepublicacceptanceandreception.Technologyisasocialconstruct,notonlyatool,butalsoanattitude,anadeptnessandacraftformakingmeaningforartistsandartusersalike.Thedeepinclusionofdigitaltechnologiesinnearlyallaspectsofmodernwesternsocietyhaschangedourself-understandingandbehaviorineverydayandartcontexts,andarichundergrowthofalternativedistributionoutsideoftheconventionalhierarchiesofgoodtastehasdevelopedoverthelast25yearsorso.Thetalkwillattempttodescribesomeofthenutsandboltsofthedigitaltechnologythatisatthebaseofthisdevelopment,revolvingaroundthekeywordsrepresentation,complexity,control,newmaterial,largeandsmalldataconversion,soundscapeandecologicalperspectives,andconceptualism.*SpeakersponsoredbytheNordicCouncilofMinistersandtheNordicCultureFundViolaRÜHSE(AT) DanubeUniversityKrems

AlisonKnowles’“SoundPoetry”:TheInfluenceofMycologicalandAestheticDiscussionswithJohnCageonEarlyWomen’sFluxusAesthetics

Track2

ABSTRACTAlisonKnowles(*1933)wastheonlywomanintheearlyfoundingFluxusgroup.SheparticipatedintheNewYorkMycologicalSocietyestablishedbyJohnCageanddesignedandco-editedCage’sNotations,abookofvisualmusicscorespublishedin1969.ThisintenseexchangewithCagesupportedKnowlesandherradicalchangefromAbstractexpressionistpaintingtoFluxus.Sincetheearly1960s,manyofAlisonKnowles’workshavecenteredonquestionsofsound.Inherearlyeventscores,sheusedsoundsfromtheapplicationofNiveacreamandpreparationofsalad.Inseveralworks,sheexploredtheresonatingsoundsofbeansaswellasothersoundqualitiesofthissimpleandaffordableedible.Thework“BeanRolls”(1964)containsscrollswithvariousfactsaboutbeans.Shealsoincludedrealbeansfortheirsoundeffects.Thesonic,touchandparticipatoryqualitiesofthisartworkwereintensifiedinherinstallation“BeanGarden”(1971).Here,amicrophonewasusedtoamplifythesoundsofvisitorsastheysteppedinalargeboxfilledwithbeans.PublicinterestinKnowles’œuvrehasgrowninthelastyears.Forinstance,in2008theTateModerninvitedhertoperformtwopiecesfromthe1960s,in2016theCarnegieMuseumofArtorganizedaretrospective,andinthelastdecadefirstbasicresearchcontributionsfromanarthistoricalperspectivehavebeenpublished.Inthispaper,ItakeadeeperlookintotheinfluenceofJohnCage’saestheticsonKnowles’worksinthe1960sandearly1970s.Themainfocusforthisinterdisciplinaryanalysiscombiningmusictheoryandarthistorywillbetheuseofextraordinaryinstruments,theemphasisonpercussion,andtheexperimentalapproach.Knowles’useofmaterialsfromawoman’sperspectiveforherowninterpretationanddevelopmentofCage’saestheticswillbealsodiscussed.


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ChrisSALTER(CA) AlexandreSAUNIER(CA)MilieuxInstitute,ConcordiaUniversity ConcordiaUniversity

FromTurntabletoNeuralNet:Craft,TechnoscienceandMaterialistPracticesofthe(Musical)Instrumentinthe20th/21stCenturies Track7

ABSTRACTIn1939attheCornishCollegeoftheArtsinSeattle,athenunknowncomposernamedJohnCagepremieredImaginaryLandscape#1.NotedbycomposerMichaelNymanas“ineffect,theveryfirstliveelectronicpiece”(Nyman1999,45),thesixminuteworkwasscoredforanunusualmixofsoundmakingdevices:mutedpiano,cymbals,gongsand,mostradically,twovariablespeedturntablesplayingrecordingsofelectronically-generatedtestfrequencies.Withthiswork,Cageandothersusheredinaneweraofscientific-technological-aesthetichybridityinrelationshiptothenotionofsoundinginstrument.Indeed,asheandinventorsofnewinstrumentssuchasCowell,Partch,Nancarrow,Xenakis,Waisvisz,Sonami,andothershavemademanifest,theverynotionoftheinstrumentwastransformedacrossawiderangeofspaces,concepts,techniquesandpractices.Instrumentsbecameincreasinglydiaphanoustotheworldbeyondthehumanperformer,incorporatingfeedbackandprocessesofadaptationandforms.Bytheendofthe20thcentury,theboundariesbetweenobjectandartist,instrumentandenvironment,socialandtechnical,themicroscaleofdeviceandthemacroscaleofthesoundingworldhadbeenforeverreimagined.Utilizingafocusonmaterialagency(Callon1986;Pickering1995)andmaterialknowledgeinrelationshiptoscientificinstruments(Baird2004;Boon2004)derivedfromSTS(ScienceandTechnologyStudies),thistalkexaminesthehistoricalre-inventionoftheinstrument,notleastduetotechnoscientificadvancesinthe20thcentury.Atthesametime,giventhatthe“socialworldisinscribedintotechnologyintheprocessesofitsmakinganduseanddesign”(Salter,etal2016,139),wealsodiscusshowthesevaryingsocial-technical-aesthetic-culturalprocessesoperateatdifferentscales:fromtheindividualmusicianwhocircuit-bendsintheirbedroomtolargerinstitutionalapparatuseswherefuturemusicproductionispartiallyshapedbyscientificresearchagendas.LuzMaríaSÁNCHEZCARDONA(MX) UniversidadAutónomaMetropolitana,Lerma

Mictlan:ACyber-cartographyTheSearchfortheLovedOnes.ACollaborativeSocially-engagedArtProject Track3

ABSTRACTThispaperaddressesthemakingofacollaborativesocially-engagedartprojectthatenablesacollectiveofwomenbasedinLosMochistodocumenttheirsearchfortheirfamilymembersinruralandurbanareasofMexico.Since2006Mexicoislivinginanextremehumanitariancrisisthathasescalateduptoanunprecedentedsituation.AmongthedifferentcirclesofthehorrorofthiscontemporaryMictlán—theunderworldfortheNahuaculture—,thereisoneespeciallypainful:thekidnappingofcivilians.Withmorethan30,000people‘gonemissing’,andseveralindependentgroupssearchingforclandestinegravesallaroundthecountry,thesituationisunbearable.Oneoftheresultsofalong-termpracticeasresearchproject,isthedesignanddevelopmentofanaudiocyber-cartography,adigitaltoolthatmakesitpossibletoconstructaprivatearchiveinwhichthesegroupsmayleavesound(andvisual)dataregardingtheirsearch.AdrianaSANTOSMELGAREJO(UY)

“FabricaciónesUniverso”Vanguard,SilenceandOblivion Track2

ABSTRACTTheSpanish-UruguayanpianistCarmenBarradaswasborninMontevideoinahumblefamily,whichdespitetheeconomichardships,providedspaceforeachofthechildrentodevelopintheirartisticdiscipline.Togetherwithherbrothers,Rafael,plasticartist,inventorofVibrationismandAntonio,ultraistpoet,shelivedincitiessuchasMadridandBarcelonaandthereshewasinfluencedbyavant-gardeartistsandtheheterogeneousnucleusofintellectualsoftheGenerationof'27.Inherworkshehasmadedirectreferencestoanindividualsearchclosetothemusicalcurrentsthatwerebrewingatthebeginningofthetwentiethcentury,butwithoutsubscribingtoanyofthem.CarmenstandsoutasoneofthemostinterestingLatinAmericancomposersoftheearlytwentiethcenturywithcompositionsthatarecharacterizedbythesearchforformalfreedom,theuseofvarioussoundplanesandthetimbreexploration.However,herworkisverylittleknownbecauseofthe


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primarylackofunderstandingofitsartisticvalueintheUruguayancontextandthecharacteristicnegligenceinourcharactertowardsomeartisticworks.PartofCarmen'sworkhassurvivedthankstothecontributionofmusicologistNefferKröger(1925-1996)whowillbereferredtoforherworkasaninterpreterandresearcherinrelationtothisimportantcollection.InthiscommunicationtheartisticbondsamongBarradasbrotherswillbehighlightedandspecialattentionwillbepaidtotheworkofthecomposerthroughauditionofsomeofhermusicalcompositions,throughphonographicrecordsofthe1970s.AlexandreSAUNIER(CA) ConcordiaUniversity

PerforminginTime:TheCraftofLightInstruments Track4

ABSTRACTHowcanwethinklightingdesignaswethinkaboutmusic:asacompositionofdynamicpatterns,rhythms,movements,andgesturesthatareperformedovertime?Currentlightingframeworksandinstruments,inheritedfromthetheater,addresslightasaspatialmediumandcontrolitasalinearsequenceofpre-recordedimages.Meanwhile,fromLouisBertrandCastel’s18th-century“clavecinoculaire”totoday’sMIDIcontrolledLEDlightshows,musiciansregularlyexploremeansforplayingandimprovisingwithlightinlivesettings.Bothaestheticallyandtechnologically,soundparadigmsandinstrumentationparticipatetoshapinghowweperformwithlight.Mostly,theybringthequestionsoftemporalgestureanddynamiccontrolatthecenteroflightingdesign.ContemporaryLEDlighttechnologyanddigitalprogrammingenvironmentsgivetheopportunitytodeveloppreciseandintuitivemeansoftemporalexpression,fromthemicro-levelofintensitydimmingtothemacro-levelofperformativegesture.Digitaltechnologies,becausetheyallowthemixingofthemedia,makepossiblethetranspositionofsoundparadigmslikesynthesisandgranularitytolight.Theygivetoconsidersoundasamaterialtocontrollightdynamicallyandtransformthewaysinwhichwethinkandperformwithit.Startingwithareviewofthehistoryoflightperformances,IwilldiscusshowcomposerssuchasAlexanderLaszloandIannisXenakisassociatedlightandmusictochallengethewayweconsidertheirinterrelations.Iwillthendrawonmyownpractice-baseddoctoralresearchtodiscussanapproachtolightinginstrumentationthatreliesontheuseofsoundsynthesis—oscillators,filters,andenvelops.Eventually,Iwilladdressthequestionoflighttemporalitiesanddynamicsinrelationtotechnologicalmeansofcontrol.Fromsoundsynthesisparadigmstocutting-edgemachinelearningprocesses,digitaltechnologiesaretheopportunitytorethinkhowweperformwithlight,boththeoreticallyandpractically.HaroldSCHELLINX(FR) EmmanuelFERRAND(FR)AnA-R PierreandMarieCurieUniversity

FreelyImprovisedandNon-academicElectroacousticMusicasUrbanFolk Track9

ABSTRACTFollowinguponourworkonemergenceinthefringesofcontemporarymusic,outsideofwhatwecall‘themanufacturednormalcyfield’(1,3),weherecontinuetodrawandinvestigatethetopographyofthevastandcontinuouslyexpandingwastelandthatconnects-ononeside-theworldsofacademicandinstitutionalculture,with-ontheotherside-thoseofmainstreamcommercialandpopularculture.Itisacommongroundclaimedandoccupiedsincethemid-1960sbyaglobalnetworklinkingavarietyofindividualsand—sometimesmore,sometimesless—anarchiccommunitiesofartists,withvaryinggeometries,thatoverthepasthalfcenturycontinuedtogrowandflourish,withlittlerecognitionfromestablishedculturalinstitutions,andwithbutincidental,adhoc,financialfunding.Boostedbytheadventofdigitalisationandtheinternet,thistradition’sbeatingheartareformatsofgeneralisedsoniccollagethatdrawfromandbuilduponfreelyimprovisedelectroacousticmusicwithmanydifferenttools,oftenhomebuiltfromfoundmaterialsandrepurposedconsumerelectronics,orexploiting‘obsolete’audioandrecordingformats.Ithasgivenbirthtoarangeofderivativetechniquesinvariousguisesandcombinations,likecut-up,noise,instrumentbuildinganddesign,circuitbending,turntablism,sampling,glitch,frippertronics(live-looping),thatallwouldhavebeenunthinkablewithoutthiscontinuousappropriation,de-constructionanddétournement(inaLettristandSituationistsense)ofworksandtoolsofcultureandtechnology,botholdonesandnewones,asanendinitselfaswellasinade/re/constructionforotherthantheirintendedusage.Weinvestigatetheappropriacyofdesignatingthecoreofformandcontentoftheseartpracticesastheyoriginatedinthelatetwentiethcentury(2)byacombinationoftheterms‘urban’and‘folk’,andwewillarguethatmuchofthemostcreativeand


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originalworkinfreelyimprovisedandnon-academicelectro-acousticmusicindeedisbasicallyafolkloristicappropriationofideas,methodsandachievementsofpost-WWIIavant-gardeartand(academic,experimental,electronic)music,actedoutglobally,butalwaysinsimilarsocio-economicurbancontexts.Wederiveourmainargumentsandexamplesfromourownlong-timeexperienceandcre-activeparticipationasartists,organisersandcuratorsintheseartpracticessincethelate1970’s,inAmsterdam,London,BerlinandParis,themostrecentofourprojectsbeing‘unPublic’(4),anevolvingseriesofdigitallydocumentednon-concertswhichatthetimeofthiswritingcounts57editionsandbringstogether,insmallfactionsofdifferingsizes,atotalof132artists,from27differentnationalities,varyingfromvirtuosoinstrumentaliststoself-declarednon-musicians.References:H.Schellinx,E.Ferrand(manuscript,2017)-Emergenceat/inthefrontiers,fringes&trenchesofcontemporarymusicH.Schellinx,E.Ferrand(2010)-Azelektroakusztikusimprovizációmintmetanyelvésrögzítettpont(Electroacousticimprovisationasmetalanguageandfixedpoint(i)).In:MediumSoundAesthetics-Performanceinthemedialageoftechnology,editedbyBarnabásBatta.DepartmentofCommunicationandMedia,UniversityofSzeged.H.Schellinx,E.Ferrand(2017)-Theoryandpracticeofmusical,cultural&socialhackingoutsidethemanufacturednormalcyfield.CommunicationattheinternationalconferenceonMusic&Hacking,IRCAM,Paris2018http://unpublic.soundblog.netUlrikSCHMIDT(DK) RoskildeUniversity

ThreeEnvironmentalities:TheSonicEnvironmentbetweenAtmosphere,EcologyandAmbience Track6

ABSTRACTWhatdoesitmeantobeaffectedbythesonicenvironmentasenvironmentandnotasasetofindividualsoundsintheenvironment?Andwhatperspectivesandconceptualframeworkswillallowustodistinguishbetweendifferentaspectsofasonicenvironmentanddifferentwaysofbeingenvironmentallyaffectedbyit?WithaphraseborrowedfromMartinHeideggerwhospeaksof“environmentality”as“theworldlinessofthesurroundingworld”(1996:62),thispresentationwillproposetheterm‘sonicenvironmentality’asagenerictermforthedifferentwayssonicenvironmentsarematerializedandexperienced.Sonicenvironmentalitythusdesignatestheperformativedimensionofasonicenvironment:whatitdoesandhowitaffectsusasenvironment.Onthisground,thepresentationwillproposethreemajorformsofsonicenvironmentality:atmosphere,ecologyandambience.Insoundstudiesspecificallyandinaesthetictheorymoregenerally,therehasyetbeennoclearandtheoreticallysupporteddistinctionbetweenthethreeconcepts,andmoreoftenthannottheyareusedasquasi-synonymousandsomewhatinterchangeabletermsforoursocialandperceptualrelationswiththe(sonic)environment(Gibson1986;Böhme1995,2001;Guattari2000;Morton2007,2010;McCullough2013;Hasse2014;Kim-Cohen2016).Incontrast,Iwillargueforaclearandexplicitdistinctionbetweenthethreeandexploreatmosphere,ambience,andecologyasdistinctiveyetsimultaneouslyeffectivewaysinwhichsonicenvironmentsperformandaffectusasenvironment,eachwiththeirowndistinctaestheticpotential.Inrelationtospecificexamplesfromrecentsoundartandsounddesign,Iwilldiscusshowtheaestheticcontrastsamongthethreeenvironmentalitiesareduetovariationsinparameterssuchashuman/non-human,local/global/cosmic,site-specific/site-genericandmicroscopic/macroscopic.References:Böhme,G.(1995).Atmosphäre.Frankfurta.M.:SuhrkampVerlag.Böhme,G.(2001).Aisthetik.München:WilhelmFinkVerlag.Deleuze,G.&F.Guattari.MillePlateaux.Paris:ÉditionsdeMinuit,1980.Gibson,J.J.(1986).TheEcologicalApproachtoVisualPerception.Hillsdale,NJ:LawrenceErlbaumAssociates.Guattari,F.(2000).TheThreeEcologies.London:TheAthlonePress.Hasse,J.(2014).“AtmospheresasExpressionsofMedialPower”.Lebenswelt4.1,214-229.Heidegger,M.(1996).BeingandTime.Albany:StateUniversityofNewYorkPress.Herzogenrath,B(ed.).(2008).An[Un]LikelyAlliance:ThinkingEnvironment[s]withDeleuze/Guattari.NewcastleuponTyne:CambridgeScholarsPublishing.Kim-Cohen,S.(2016).AgainstAmbience.NewYork:Bloomsbury.


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McCullough,M.(2013).AmbientCommons:AttentionintheAgeofEmbodiedInformation.Cambridge,Mass.:TheMITPress.Morton,T.(2007).EcologyWithoutNature:RethinkingEnvironmentalAesthetics.Cambridge,Mass.:HarvardUniversityPress.Morton,T.(2010).TheEcologicalThought.Cambridge,Mass.:HarvardUniversityPress.Schmidt,U.(2013).Detambiente.Sansning,medialisering,omgivelse[TheAmbient:Sensation,Mediatization,Environment](inDanish).Gylling:AarhusUniversityPress.Schmidt,U.(2015).”TheSocioaestheticsofBeingSurrounded:AmbientSocialityandMovement-Space”.InA.Michelsen&F.Tygstrup,Eds.Socioaesthetics:Ambience–Imaginary.Leiden:BrillPublishers,25-39.Thibaud,Jean-Paul(2011).“TheSensoryFabricofUrbanAmbiances.”SensesandSociety6(2):203-215.LinneaSEMMERLING(NL) MaastrichtUniversity

RehearsingSensoryRepertoires:SoundArtCuratingatAlternativeArtSpaces1980s-2000s Track5

ABSTRACTSoundhasbeenondisplayinmuseumsandothercontemporaryartvenuesfordecades.Withthesoundcamedifferentideasaboutitspresentation,manyofwhichweretiedtospecificconceptionsofvisitorsandhowtheyweresupposedtolisteninexhibitions.Sincethe1980s,alternativeartspacesspecificallydedicatedtoshowingsoundhaveenrichedtheinstitutionallandscapeandrealizedradicalnewexhibitionformats.MypaperexploreshowthecuratorialapproachesofthesealternativeartspacesdedicatedtosoundrelatetootherdevelopmentsinthefieldofsoundartcuratinginGermanyandtheUSfromthe1980supuntilthe2000s.Ifocusonfourinstitutionsdedicatedtoexhibitingsound:GiannozzoandSinguhrinBerlin,andGeneratorandDiapasoninNewYork.Myanalysisisbasedonarchivalresearchconductedintheseinstitutions,interviewswithcuratorsandartistsdrawingonsensoryethnographyaswellasvisitorbookanalysis.BuildingonPierreBourdieu’snotionofthehabituswithinsightsfromJudithBecker’s‘habitusoflistening’,CarrieNoland’s‘agencyandembodiment’andHelenReesLeahy’s‘museumbodies’,Iaimtoshowthatthecuratorialstrategyofanysoundexhibitioncanbeunderstoodastherehearsalofasensoryrepertoire.Iwillarguethatitisthroughtheserehearsalsofsensoryrepertoires–theconstantnegotiationofsensorydispositionsandinstitutionalpositions–thattheartistsandcuratorsbehindthealternativeartspacesdedicatedtosoundhavesucceededinbuildingnewsensoryrepertoiresthathavelastinglyshapedthefieldofsoundartcurating.AmreshSINHA(US) TheSchoolofVisualArts

ThePrimacyofSoundinRobertBresson’sFilms Track9

ABSTRACTSoundandImage,inidealterms,shouldhaveequalpositioninthefilm.Butsomehow,italwaysplaysthesubservientroletotheimage.Infact,theintroductionofsoundinthecinemaforthepuristswastheendofmoviesandthebeginningofthetalkies.Thepuriststhoughtthatsoundwouldbethe“deathblow”totheartofmovies.NolessrevolutionarydirectorthanEisensteinhimselfviewedsynchronoussoundwithsuspicionandadvocatedanon-synchronouscontrapuntalsound.Butdespiteopposition,whichissowellpicturedinBillyWilder'smasterpiece,SunsetBoulevard(1950),whichdealtwiththethemeofasilentmoviestardiva,whofindsherselfleftoutfrommoviebusinessoncethesoundpicturesbecamethenorm.Iwilldiscussthefilms,especiallyAManEscaped(1950),oftheFrenchdirectorRobertBresson,whosefilmsprivilegethemodeofsoundovertheimage.Infact,inafilmlikeAManEscaped,accordingtoDavidBordwellandKristenThompson,theaudienceis“compelled”tolisten.InBresson,thesoundisalwaysastepaheadofthevisuals,forexample,theknights’joustsinLancelotduLac(1974).Itisthesoundthatfirstinformsusoftheresultsoftheknights’competitioninKingArthur’scourtfollowedbythevisuals.Iwouldalsoliketodrawattentionaperplexingenigmainfilmartwhichhascustomarilyusedvisualmethodstoarticulatetemporalitythrougheditingtechniquesofflashbackandflashforward,butrarelyusessoundtoemphasizethenonlinearrelationshipbetweensoundandimage.FilmslikeTheGodfather(1972)andJeanLucGodard’sLeMepris(1963)providescontraryexamplesofflashforwardthroughthemediacyofsound.


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PatrikSJÖBERG(SE) KarlstadUniversity

YourTongueinMyMouth:LipSynch,Dubbing,Ventriloquism,andtheOtheringofVoiceinDocumentaryMedia Track3

ABSTRACTThispaperdiscussesdocumentaryworksthatseparatevoiceandfigurebymeansofsubstitutingthevoiceofanotherforthefiguredepicted.Thetransitionfromasilentfilmcultureto”talkies”sawashiftoffocusfromthebodyandfaceasexpressiveelementstothelipsandthewaytheysynchronizedwiththespokenword.Achievingperfectsynch,however,didnotsolveallproblems.Switchingvoicesandbodiesfeaturethroughoutfilmhistory,nottheleastindubbing,whichcanbeseenasprefacetothediscussioninthistext.Specificsubstitutionpracticesandtextsexaminedinclude:MargretThatcher’sbanonthebroadcastofGerryAdam’sspeakingvoiceinBritishmedia(1988-1994),whichnecessitatedthatavoiceactorbepairedwithAdams’simage;GillianWearing’svoice-swappinginstallation/documentaries;andAdieRussell’svideoseries,inwhichshelip-syncstwo-sidedconversationstakenfromtelevision(RichardNixon,MarlonBrandoandIngmarBergman,tomentionafew).RussellandWearing’sworkplayfullydemonstrateshowlooseandopentherelationshipbetweenvoiceandbodyactuallyis.Byfocusingonananalysisofthesethreeexamples,wemaybeabletoconceptualizethewaysthatspeakingsubjectsareindeedvocallyandvisuallyconstructedininterviewsandconversationsindocumentarymedia.Theanalysisdrawsuponthenotionofventriloquismasastrategyforusingone’svoicethroughadeflectedother,ascover,ascamouflage,asprotection,andasliberator.RebeccaSMITH(UK) LiverpoolJohnMooresUniversity

ParafictionsandContemporaryMediaArt2008-2018 Track7

ABSTRACTThispaperwilltracetheshiftofparafictionalartisticpracticespost2008,demonstratinghowthesestrategieshaveadaptedandevolvedincontemporarymediaarttoalignthemselvestoourcurrentexperienceoftechnologyandanti-politics.Forthepurposeofthispaper,CarrieLambert-Beatty’sdefinitionwillbeusedwhichdefinesaparafictionasafiction,whichisexperiencedasfact.Withnet.artandearlyformsofdigitalart,parafictionscreatedwereoftenacceptedasrealandfrequentlyconsideredtobeformsofactivism,thisisapparentinUBERMORGEN.COM’s[V]ote-Auction(2000)andEvaandFrancoMattes’Vaticano.org(1998).However,postthe2008financialcrisis,leadingtotenyearsofausterityandtheuseofsocialmediabecomingubiquitous,whichhasopeneduppolarisingchasmsofopinionandseparatedusintoself-reflectivesilos,artistshavebeguntobreakwiththereal.InworkssuchasRachelMaclean’sSpiteYourFace(2017)andIanCheng’sEmissaries(2015-2017),parafictionshavealtered,becominglessplausibleandlessreal,ashiftwhichismirroredinpolitics,nowtheyhavebecomeunconcernedwithreplicatingtruth.Thislackofplausibilityreflectsthefractiousnatureoftherealworldandthedarkaffectsandaspectsoftheinternetandtechnologicalinfrastructure.Parafictionsincontemporarymediaart,2008-2018willdemonstratehowthesocialandpoliticalsituation,alongsidethedevelopmentofcomputationtoitscurrentplanetary-scalehasaffectedourrelationshipwithtruth.Thishassubsequentlyledtothegrowthofartistsengaginginparafictiveacts,whichexploitandreplicateoureraofso-calledpost-truthandfakenews.Itwillexaminewhyweoftenchoosetoacceptanarrativeoveratruthbydiscussinghowartistshavecreatedforgottenpasts,potentialfuturesandalternaterealitieswithdigitalmedia.BrianReffinSMITH(DE) Collègede'Pataphysique

ConstraintandFreedominSound:FromthePortsmouthSinfoniatoNewAlgorithms Track9

ABSTRACTConstraint,asweknow,canalsobefreedom.Byreducingvariablesorimposingsimplesystems,newideascanemergeasdoesjuicefromasqueezedlemon,hittingyouintheeyeandchangingeverythingforawhile.FromtheappallinglywonderfulstoryofthePortsmouthSinfonia,withwhomtheauthorplayed(anorchestrawhosemembers,thoughsometimesexpertmusiciansintheirfield,couldbarelyplaytheirinstruments)totheuseofmusicalconstraintshijackedfromexperimentalliteratureandart(theOuLiPoandOuPeinPo),theideaof


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‘constraint-equals-freedom’willbeexploredusingaudioandvisualexamples.Newalgorithmsforfutureworkwillbepresentedinawaysosimplethatanyonecanusethem.Audienceinteractionwillbeencouraged,andacooperativemusicexperimentundertakenduringthepresentation.JacekSMOLICKI(SE)

WalkingandListeningthroughTime,Space,andTechnologies Track4

ABSTRACTItcanbearguedthatsoundwalkinghaspredominantlybeendiscussedandsubsequentlypracticedasaparticulartechniqueofincreasingone'sawarenessofthepresent.Regardlessofitsaffiliationwitharts,sciences,andleisure,soundwalkingfacilitatesatemporaryreprioritizationandradicalshiftofone'ssensoryawarenesstowardswhatissonicallydeterminingthesubject'ssenseofpresencehereandnow.Inotherwords,soundwalkingcanbeseentofunctionasanaestheticframework,afilteroranear-lens,ifyouwill,instigatingatemporarystateofexceptioninthevisuallydominatedtimes.RelatingtothenotionofacoustemologycoinedbyStevenFeld,inthispaper,Iwouldliketoproposeaperspectivethatexpandstheunderstandingofsoundwalkingnotonlybeyonddisciplinaryboundaries(whichithasbeenconvenientlyandmethodologicallyadoptedby)butalso,orprimarily,alongthetimeaxisandthusbeyondthebracketofitstemporaryaffect-/effect-ivenessandusefulness.BybothdrawingonhistoricalreferencesanddiscussingthreeartisticprojectsIhavebeendirectinginrecentyears,andwhichinvariouswaysdeploytechnologicalaids(QuiveringStillness,FragmentariumClub,andListeningBack,ListeningAhead),Iwillspeculateandproposehowsoundwalkingcanenableacompositionofacoustemologicalframeworksinwhich(one'ssenseof)presencecanbeinterpretedasapositionwithinalongercontinuumbetweenthepastandfuture.

MortenSØNDERGAARD(DK) AalborgUniversity

Sound+Art=?APost-institutionalInvestigationoftheHistoryofCuratingHybrids Track5

ABSTRACTThispaperexaminesthehistoryofcuratorialandartisticnegotiationsacrosstransdisciplinarydomainsthatshapedthenotionof,whatwenowtermas,'soundart';thisterm,however,anditspossiblemeaning,isfarfromclear.Itremainsagenre-dynamichybridevenifattemptsofinstitutionalizingitareevidentwithinthepastfewyears.Theformationofapost-institutionalandcriticaldiscoursearoundsoundartisinvolvedwithacomplexhistoryofproductionthatcreativelyisbothinspiredbyandrebellingagainsttheinstitutions,theoriesandhistoriesofvisualarts,theperformingarts,music,etc.Inthissense,itisatruemediaart...withoutcleargenericboundariesandtransdisciplinaryineveryaspect,workingdynamicallyacrossthedomainsof(anyrelationof)genresandinstitutions.Inthispaper,Iwillargueagainstthetheoreticaldiscoursesfocusedonas'(relatively)autonomousartworks'inatraditionalsensegivingrisetoapeculiaryetwidespreadtendencytocurate'around'thematerialandtransdisciplinaryconstitution(construction)of'soundart'andinsteadfocusonitsphenomenologicalbehavorial'effect'(listening)asdifferentfromthatofthevisual/textualartconceptions.Insteadofarguingforhowsoundartmightbeabetterfitfortheartmuseum(oranymuseum)ifitmettheconditionsandconventionsthevisualartsinstitutionsoperatewithin,Iwillshowcasehowsoundartmightinsteadbeseenasacasefortransformingmuseumsthemselves.Museums,afterall,arealso'instituting'(asBorisGroysremindsus),notmerelyreactingtothediscourse-of-the-day,butcriticallyreflectingandnegotiatingdifferent(emergentorre-emergent)phenomena,tendenciesandtheirhistories.So,ifthispremiseshouldbemet,forsoundartandperinferencemediaart,thenacompletelydifferenttypeof(post)institutionandcuratorshouldbenegotiated.Theinvestigationwillultimatelyspeculatewhatwouldconstitute'theperfect'post-institutionalsettingandsitutionforsound+art-andwhathybridtypes/roles(ofartists,curators,gallerists)andcompetencieswouldbeneededtomakeitwork.


RE:SOUND2019

NinaSOSNA(RU) NikitaVASILENKO(RU)HigherSchoolofEconomics,RussianAcademyofSciences MoscowInternationalUniversity

Micro-ecologiesofSound:ElementalDialogatWork Track7

ABSTRACTSubtleandtinyfabricofsoundswaslonganticipatedintermsofhumanperception.Frommusictosoundscapesitwasdesignedtofitthecapacitiesofhumanears,puttinginbracketsblacksoundpollutionandwhitenoise,markingsoundsunperceptableforhumansasnon-existent.Technologyhasbroughttothelightamuchbroaderspectreofsoundsthatexistsparallelandsupplementarytohumanlisteningworld.Itdiscoveredthat«noisedoesnotneedtobeheardasunwanted,loudorexcessiveinordertoexist–itneednotbeheardatall»(MaryThompson).Consequently,thisapproachdecentresthelisteningsubject:‘noise’isunderstoodtoalsooccurwithinandactuponwhathasbeendeemedthenon-orextra-human.Itistypicalforasoundtobeimmersiveinamoreprecisewaythenvisualityis(StefanHelmreich)andblurtheanthropologicalcontours.Thusitcanbevisualaswellasheard,inthemilieusthataremoreelementalandprofoundincharacterthen«big»«meaningful»constructions.Thesemilieusarenotstill,becausethedevicesregistersoundswhilethereseemstobesubjectivefeelingofquietspace.Amusicianandatacticalagentareinequalpositionbeforeindicsernabilityofthesemilieus.Underwhichconditionstheir«place»andnodesoftheirstructurearetobediscovered?FastFourierTransformationtechnologiesmakepossibletorebuildanydigitalaudiointonewspectralconfigurations.Buttechnicaltransformationsofsounddonotonlytransduceit,theydiscoveritsniches,itspresenceinthefirstplace.Self-assemblingsoundingsystemofOscarMartinisthefirstandimminentexampletobediscussedinthisframe.LuisSOTELOCASTRO(CA) ConcordiaUniversity

SoundArtandOralHistoryNarrativesinaPost-conflictPerformanceofMemory:EngagingPublicsasListenersofPainfulPersonalPasts Track3

ABSTRACTThispresentationdiscussesmycurrentprojectEsUnaTorturaNoPoderHablar/NotBeingAbletoSpeakisTorture(NBAST).NBASTisasoundinstallationandcreation-researchprojectthatIamcurrentlyundertakingatConcordiaUniversity(Montreal,Quebec,Canada)incollaborationwitharefugeefamilyofColombianoriginandsoundartistBarryProphet.Duringanoralhistoryinterviewatarecordingstudio,membersofthefamilysharedwithusmemoriesoftheirviolentpastinruralColombia.Thememoriesrelatetotheeventsin2002thatleddirectlytoCanada’sdecisiontograntthemrefugeestatusin2004.Theywerehidinginaroomjustnexttotheguerrillathatwaslookingforthemtokillthem.Themother(awidow-survivor),herfivechildren,andafewmorepeople(atotalofnine)hadtokeepabsolutelystillandquietforanentirenight.AsthemotherrecallsthisandotherpersonalexperiencesinColombiainwhichshewasdirectlyconfrontedwithextremelyviolentacts(includingthekillingofherhusband-anenvironmentalleader,anddomesticviolence-incest),shesaysthatnotbeingabletospeakaboutanyofthatistorture.Silencing,itseems,isaninherentdynamicofasiteofconflictwhich,simultaneously,isembeddedwithinpatriarchy.Asaconsequence,strugglestobreaksilence-inparticularbywomenandothersubjectsinvulnerablepositions-seemtobeatthecoreofwhatpost-conflictprocessesareabout.Howcanperformativemethodologiessupportsuchneedsforbreakingsilenceinpost-conflictcontexts?Followingwhataestheticideasmaysoundartinteractwithsuchpainfulnarratives?DuringNotbeingabletospeakistorture,listener-participantsingroupsofnineareinvitedtobestillandsilentinsideasmallbooththatechoestheoriginalhidingplace,andtolistentoa30-minute‘treated’versionofselectedfragmentsofthemotherandheroldestdaughter’stestimonieswhileinthebooth.Theirpre-recordedtestimoniesaredeliveredbyperformersviatheheadphoneverbatimtechniquetoconcealtheiridentity.Surfacetransducerspeakersinsidetheboothplacelistener-participantsinanauralandacousticsituationthathighlightsthesocialandphysicalsituationinwhichoneisplacedinsuchextremecircumstances.Theproposedpaperwillreportonthefindingsofthisexperiment,throughnotionsoflisteningandpost-conflictmemory.ThequestionsthatIwishtobringtolightduringthepaperinclude:Whatethicalconsiderationsareraisedbysuchpracticeand,morebroadly,bypost-conflictperformancesofmemory?Whatdoeslisteningtorefugeestoriesdowhenittakesplaceinahostcountry?Whatroledoessoundartplayinthecontextofperformancesofpainfulmemories?


RE:SOUND2019

JosefSPRINZAK(IL) HebrewUniversityofJerusalem

“MapSong”—ATextSoundPerformanceandTalkaboutVoiceandCartography Track3

ABSTRACTTherecentwideuseofinteractivemappingtechnologiessuchasgeographicalinformationsystemsandglobalpositioningsystems(GPS)enhancetheeffectsofmapsandmappingonourexperienceofplaceandlandscape.AninterestingturnonthisprocessistheuseofvocalinstructionsinGPSsystemsandvariousaudioguides.Ourpanopticmapsnowhaveapanopticvoicewhichhasbecomepartofourdailysoundtrack.Inadditiontothementalexperienceofbeingled,the“talkingmap”mixesdifferentlevelsofrepresentation:maps,spatialpracticesandspeechacts.Iclaimthisdailypracticehasanimpactonhowweperceiveandrememberplaces.Itrytouseamusicalandpoeticeartoexploretherelationshipbetweenvoiceandthenewmappingtechnologies.Mysoundpoemcalled“map-song”usestheideaof“playingamap”-creatingalivesoundtrackmixingcartographyandsoniccomposition.TheworkcanbeviewedasasonicimplementationoftheurbanpracticeofwalkingwhichMicheldeCerteaureferredtoasa“chorusofidlefootsteps”.Itwascreatedasasite-specificperformanceinHansenHouse,aformerleper’shospitalinWestJerusalem.Thecompoundcanbeviewedasanindexicalmicrocosmosofacityseparatedbywallsandrestrictionsofmovementmarkedbyinvisiblereligious,ethnicandpoliticalborderlines.Imapanareausingsoundrecordingsofmyfootstepsindifferentlocations.Theclips,sortedaccordingtosonicandthematicparameters,aremappedandplayedonakeyboard.Thevoiceaddsanotherlayerconsistingofverbalwalkinginstructionsthataretransformedintoapoetictextevokingtheplace’sinvisibleborderlinesandrepressedmemories.Thispresentationconsistsofalivetextsoundperformance(approx.10min)andatalkaboutvocalartpracticesinresponsetocartographyandcontemporarymappingtechnologies.PollySTANTON(AU) RMITUniversity

ExpandedActsofSeeing:Movement,GestureandListening Track3

ABSTRACTInanefforttomovebeyondrepresentationalmodesofseeingandknowing,inthispaperIexplorehowmovementactivateslistening,andsoexpandstheactofseeingthroughaprocessofembodimentandpractice.Drawingonfieldworkundertakenfortheproductionofthemovingimagework'BetweenTwoSuns',theaimofthispaperistoarticulateanideaofexpandedformsofproductionthatgenerateperformativecollaborationsandimprovisationsbeyondthecameraframe.Throughexaminingthemethodologicalprocessesundertakenduringfieldwork,thispaperconsiderslisteningasasensoryexperienceofplacethatrequiresmovementasawaytorelatetootherbodies.Itcontendsthatthroughtheaffectivepropertiesofsoniccommunication,weareabletoengageintheworldwithaperspectivethatexceedstherestrictionsofvisualperception;demonstratinghowsounddrawsattentiontotheentanglementsofhumanandmore-than-humanformsoflifethroughbothmovementandgesture.Listeningisaformofsoniccognitionanditproducesamodeofknowledgethatisbothtemporalandephemeral,throughasensoryreadingwiththeworld(Voegelin2014).Inthispaper,Iconsidertheinfluenceoflisteningonlookingasanembodiedexperiencethatrequirescreativegesturesofmovementasawaytomakecontactwithotherwiseunseenactionsandecologieswithinenvironments.Byrecountingtheexperiencesofpracticeandprocess,Iwillillustratehowlisteningandperformativemovementopenupafieldofpossibilitiesbydestabilisingtheroleoftheobserverthroughaconnectiontoalargerworld.Voegelin,S2014,Listeningtosilenceandnoise:towardsaphilosophyofsoundart,Bloomsbury,London.JustynaSTASIOWSKA(PL) JagiellonianUniversity

EartotheGround—HearingTechniquesandTechnologiesinSonification Track6

ABSTRACTSonificationtechnologyemploysseriesoftranslations–transformationofamaterialitythroughmilieusenablingamaterialitytobecomesound.TheemergentsoundisanisomorphicentityasJonathanSterneand


RE:SOUND2019

MitchellAkiyamainTheRecordingThatNeverWantedtoBeHeardandOtherStoriesofSonificationnametheeffectofauditorydisplaytechnologies.Derivingfromparametrizationviafrequenciesgraph,thesonificationtechnologyemployshearingasanepistemologicaltoolforscience.Listeningtomovementofyeatsmembraneinsonocytologicalresearch,sonificationofseismicmovementorgravitationalwaves,offersabecomesapromiseofcatchingbyear,whateyeshaveomittedinoculocentricstructuringofknowledgeproduction,inasamemannertheauscultationenabledtodevelopanewpracticeofdiagnosinginmedicinein19thcentury.SophiaRoosthdescribesthesonificationofYeatsasapractice,that“[…]constructsasoundscapewherecellularprocessesbecomesensibletobiologists,thatis,oncetheyhavelearnedtointerpretwhattheyarehearing”.The“hearing”asapracticeemployinsciencesoftenmirrorsmusic-artactoffindingharmoniesinnoiseofsonocytologicalsounds.Still,arethesemodesofperceptionenoughtogainnewknowledge?Whyscientistsintheirpracticerefertoclassicalmusictolistenforharmoniesinresearchedenvironments?InmypresentationI’llfocusonpracticeofhearinginsonificationresearchinordertothinkofhowtohearbeyondhumancapacities.Iwillrefertoartistictechnicssuchasfieldrecordingandsoundwalks,deeplisteningproposedbyPaulineOlivierosandotherformsofprogrammingmodesofperception,inordertodevisepracticesoftechnologicallymediatedhearing,thatwouldcreateaposthumansound-environment.DoloresSTEINMAN(CA) DanielMACDONALD(CA) ThangamNATARAJAN(CA)UniversityofToronto UniversityofToronto UniversityofTorontoRichardWINDEYER(CA) PeterCOPPIN(CA) DavidSTEINMAN(CA)UniversityofToronto OCADUniversity UniversityofToronto

(Re)soundingBloodFlowComplexity Track6

ABSTRACTItiswellknownthatturbulentbloodflowcanproducesounds:thisistheprinciplebehindbloodpressuremeasurementsandtheauscultationofmurmursthathasforcenturiesbeenusedtouncovermaladiesoftheheart.Brainaneurysmsarealsoknowntoproducesoundsor‘bruits’(atfrequenciesinthehundredsofHz),thoughttobeaharbingerofaneurysmrupture.Butbecauseaneurysmstypicallyforminarteriesdeepwithintheskull,ithasprovendifficulttohearthesesoundsnon-invasively.Instead,medicalimagingisnowadaysusedtodiagnoseaneurysmsbasedontheirsize,shapeandlocation,while“patient-specific”computationalfluiddynamics(CFD)showspromiseforresolvingthepotentially-dangerousbloodflowpatternshiddenwithin.Conventionalvisualcommunicationoftheseandothercomplexflowsignoresthestrengthsofthehumanauditorysystemforperceivingsubtledifferencesinfrequencycontent.SimulatingtheproductionofbruitsfromCFDisconceptuallyandcomputationallychallenging,soourpragmaticapproachwastosonifytheCFDvelocitydataimpressionistically,viaspectralanalysis-resynthesistechniques,whichwewereinitiallydrawntofromourworkonthesimulationofmedicalultrasound.Forthesonicaesthetics,aguidingprinciplewastocaricaturethephysiologicalsoundbasedonfluidsoundsexistinginnature,allowingtheusertointuitivelymapflowcomplexitytoafamiliarparadigm.Inspiredbyvocodingtechniques,thiswasachievedbyreplacingeachsinusoidaloscillatorwithnarrowly-band-passednoiseandaddingaresonancefilter.Bytweakingthefilterparameters,sonificationsresemblingwind,bubblesorevenDopplerultrasoundcouldbeproduced.Preliminarytestinghasshownthatuserscanrankaneurysmflowcomplexitybetterbyearthanbyeye.Wehavealsoexploredhowthismoderntakeonclassicalauscultationopensupinterestingpossibilities,beyondtheclinic.ElisaStorelli(CH)

SoundandClock Track6

ABSTRACTMyartisticresearchdealswiththetheorythatclockshavechangedsociety’sstructure.Theyhadabigsociologicalimpactandmodifiedourwayofbeingtogether,alsotheyshapedthedevelopmentofmanytechnologiesamongdifferentdomains:byinspiringEinstein’srelativitytheoryforexampleclockshavechangedtheworld’smobility,amongothers.WhatIwanttodiscussinthecontextofRE:SOUND2019istheimpactofclocksonsoundandmusic,andtheroleofsoundintothedevelopmentoftheclockandmoregenerallytheideaoftime.Soundiscomposedofwaves.Wearenowabletoanalysenoiseandhearingthesimilaritytomelodies,becausebotharewaves.Humansevolvedtobeabletoanalysespacebyseeingsomewavelengthandhearingsomeothers,butwealsolearntousethesewavestocreatespeechandfurthermoremusic.Thebraincapacitytohandleandorganisingtheseaudiowavesisconnectedtoourunderstandingoftime.Ifweanalysehowweunderstandauditoryevents,theorganisationofsoundintostream(usingforexample


RE:SOUND2019

Bregman’sAuditorySceneAnalysis),wecanseehowourlisteningtosoundforexampleisatthebasisofthethinkingoftimeascontinuosorasanoscillation.WhatIaminterestedtodiscussisthedialoguebetweensoundandclocks,howhistoricallyeachhaveinfluencedtheotherandtheirimpactontheconceptoftime.Howsuchaseeminglyblandtechnology,thatwasgrantedovertheyearslessattentionthananyAIorinternetbasedgadget,hasinfactbeensopowerfulinchanginghowhumansuseandperceivetime.Theclockisthemostpassive-aggressivetechnologyinventedoverthecenturiesandbyanalysingtherelationbetweenclocksandsoundsitmightbepossibletounderstandtimestructurebetter.DavidStrang(UK) UniversityofPlymouth

Transmission+Interference:Dust Track7

ABSTRACT‘Eachparticleofdustcarrieswithitauniquevisionofmatter,movement,collectivity,interaction,affect,differentiation,compositionandinfinitedarkness.’(Negarestani,2008,p.88).FortheRE:SOUND2019eventIproposeapaperandworkshopfocusingontheresearchprojecttransmission+interference(Strang,D&VanUffelen,V)thatbuildsnoisedevicesandcircuitsthatharnessthepotentialofdustdistributionasitflowsacrossvariousmachinicassemblages;crossinganalogueanddigitalfieldsandterritories.Thereisanaimforanomadicnoise(followingthenomadicdistributionofdust)inthesetoolsthatclingstospaces/surfaces/plateauswhilsttravellingwithabsolutespeed.Theprojectiscurrentlyexploringdust,steganography,nomadism,resonanceandwanderingfornoiseperformanceandinstallation.Theworkshoptakesthepositionofexploringthematerialitiesofnoiseandbeginsbygrindingdownthosecomponentstosonicallyinvestigatethisdigital/analoguematter.Throughmethodsofdiffraction(light)andtransduction(sound)thematerialityofair,dustandobjectareinvestigatedthroughresonanceandvibrationtorevealthecreativepotentialheldwithin.Ascurrentsofairshiftandcirculate,assemblagesofdustareformedacrossterritoriesandsurfacesthatshapebothsoundandlightresultinginaperformativeoutput.Theaimistomoveawayfromareasofdustasannoyanceandinsteadactivelyengagewithitassonicmaterial.Theworkdrawsuponcurrenttheoryaroundvital/vibrantmaterialism(Bennett,Barad,Coole)andobject-orientedontology(Harman,Morton,Bryant).Theworkshopwouldendwithapresentationorperformancewithalltheworkshopparticipantsifthereistime/spacetoallowforthis.Thisactivityusuallyoccursintheworkshopspace.JoannaSZCZEPANIK(PL) WestPomeranianUniversityofTechnologyinSzczecin

MusicasaCredibleMetaphorofRealitybyLaibach Track9

ABSTRACTLaibachisthemusicbandemergedfromtheSloveniancounter-cultureandindustrialenviornment,establishedintheformerYugoslaviain1980andreferringwithitsnametothehistoryofSlovenia.Since1984isalsoapartofNeueSlowenischeKunstcollective,transformedin90.inNSKStateinTime.FromthebeginningLaibachusestwobasicartisticstategies:overidentificationwiththerulingsysteminordertoavoidbeingmanipulatedandretroavantgardedenyingthedistinctionbetweenacopyandanoriginal.Initsaestheticsandartisticattitudethegroupreferstototalitarianismstageingtherealofpowerandconsideringpoliticsthehighestandall-embrancingart.Laibachconcertsconsistentlytaketheformofcontroversialmusicalperformances,asinthecaseofthefirstappearanceatthefestival„NoviRock”inLjubljanain1982,wherethefrontmanimpersonitingMussolinireadtheSloveniannationalconstitution,oraconcertinthebesiegedSarajevoin1995,onthesamedatewhentheDaytonPeaceAgreementendingthewarinBosniawasheld.In2015,beingthefirstbandfromtheWest,LaibachperformedinNorthKoreahonoringthecelebrationsofthe70thanniversaryofliberationfromtheJapaneseoccupation.Laibachispartofpopularculture.Atthesametime,foralmostfourdecades,despitepoliticalchangesinEurope,itconsistentlyusestheartisticstrategyadoptedduringthecommunistperiodinYugoslavia.Inmyspeech,Iwouldliketoinvestigatehowthesound,thewordandtheimageofthegroupbecometoolswithpoliticalandculturalimplications.


RE:SOUND2019

IvánTERCEROS(EC) MedialabCIESPAL

TejidosAutomatas:SymbologyofLatinAmericanIndigenousWeavesfromCellularAutomata Track4

ABSTRACTTheactofcodingisbasedontheacceptanceofthebinaryastheconstituentmotoroflife,aWesternconventionreferredtothedialectic,bywhichtheworldisunderstoodin;beginningsandends,onandoff,goodandbad,onesandzeros.Althoughtheinterpretationoftheworldisnotplanes,butinhighlycomplexstructures,binarinessisnotextinguishedastheconventionalmicroandfoundationalact.ThisisafundamentalreflectionforthestudyofDecolonialComputing.TejidosAutómatas,isaprojectdevelopedintheformofworkshopsinwhichtheparticipantsreflectonthepoliticalandculturalconditionsofthephilosophyoftechnology,asaWesternhegemonicconstruction,andtryingtoproposeotherreflectiveformsoftechnologythroughtheindigenousphilosophicalsystems,expressedinthestudyofthesymbologyofindigenousweavesasasourceofinspirationforalternativecodingsystems.Forthisseriesofexperiments,wemakeuseofmodelsofcellularautomata,particularlyoftheLifeGameofJohnHortonConway,asaconcreteabstractionoftheapplicationofrulesdefineasocialsystem,withinthebinariety,whichmustsubsequentlybemodifiedfromthephilosophicalfoundationsofvariousLatinAmericanindigenouspeoples(Andeanfundamentally).Foracoupleofweeks,theworkshopdrawsonvariousfieldsofstudy,basicideasofgeneralsystemstheory,theoryofsocialsystemsofNiklasLuhmann,reflectionsofthecolonialityofknowledgefromdecolonialthought,semioticandanthropologicalstudiesofdesignofindigenousweaves,basicprogrammingwithP5.js,structuresofindigenouscosmology,modelsofcellularautomataandfinallysessionsofconstructionofhypotheticaldesignsofsocialmodelsbasedontheindigenousphilosophicalassumptionstobetestedinmodelsofnewdigitalcellularautomata.JessicaTHOMPSON(CA) UniversityofWaterloo

‘Borderline’:RemakingPlacethroughSonicGeographies Track3

ABSTRACTBorderlineisapractice-ledresearchinquirythatusesthesonificationofalgorithmicdatatorevealunevengeographies(areascontainingunequaldistributionsofresourcesorwealth)withinurbanenvironments.Usingurbandata,theprojectusesspatialresearchandalgorithmicsystemstotoanalyzeurbandataincitieswiththeaimofidentifying‘borderlines’,orareasofdifference.Theseareaswillbesonifiedbymappingthedataintodiscretesounds,revealingnuancesthatwouldotherwisebedifficulttoperceive.Audienceswillexperiencethedatainrealspaceandrealtime,enablingthemto‘playthecity’throughsonicgeographiesandtonotatetheirexperience.ExpandingfromKevinLynch’sconceptof‘edges’(linearelementsthatformboundariesbetweenareas)andJaneJacob’sdefinitionof‘bordervacuums’(areasadjacenttobordersthatfunctionlikeborders),thetitleoftheprojectaimstoarticulatethe‘invisibleboundaries’thataffectthesocialspacesofcities.Submittedasanalternativeformattoaresearchpaper(whichIwouldalsobehappytodoifinvited),Iproposepresentingthisresearchthroughashort‘walkingworkshop’usinganiterationoftheproject.Distributedtoparticipantsasafreeapp,andusinglocalsourcesofurbandata,theworkshopwillcombinesonicwanderingswithshortconveningsaroundgentrification,displacementanddifferentialmobilities.ThismodelisbasedonapresentationthatImadeatOCADUniversityin2018withanearlyversionoftheproject.Init,Iguidedparticipantsonadata-driven‘soundwalk’throughToronto'sChinatown/KensingtonMarketneighbourhood,followingthetrajectoryoftheover350Airbnbrentalsina1.5kmarea.Following‘datalines’participantswereencouragedtousetheapptocapturethesoundstheywereexperiencinginplace.Videomaybefoundatonlineathttps://vimeo.com/258629245.


RE:SOUND2019

HeidiTIKKA(FI) AaltoUniversity

Tactile-sonicEnactments—OnAffectingandBeingAffectedbyAir(NotesofanInstallation“Untitled(2014)”) Track7

ABSTRACTIhaveexploredKarenBarad’sagentialrealismrecently(Tikka,2018)inconversationwithmyinstallationseries“Untitled(2014)”.Theinstallationconsistsofthreeinteractiveartifacts:knitteddress-likeobjects,whichofferasonic-tactileresponsetotouching.Aninteractiveinstallationisinthisconversationunderstoodasanongoingprocessofmaterialization,whilethedifferentinstantiationsofitcanbeaddressedasagentialcuts(Barad,2007),enactmentsinwhichbothhumanandmachineagenciesaswellastheimaginaryboundariesbetweenthetwoarebothproducedandcontested.TheparticularphenomenoninwhichIaminterested,indialoguewithBarad’sphilosophy,istheconfigurationof“touch”.Thisworkiscriticaltowardstheinstrumentalizationoftouchandthereductionofitinexistinggesturelibrariesforthepurposesofcodingtouchscreeninteractivity,whileitacknowledgestheurgencyforthinkingofandforre-configuringoursensorymodalitiesacrossheterogenousmaterialtransformations.Howtothinkof,andtoorchestratematerialeventsformixedsensoryexperience,theentanglementsoftactile,auralandvisual?Inthispresentation,Iproposetofocusontherelationbetweentactileandsoniceventsthatcharacterizeoneofthe“Untitled”artifacts.Thisparticularobjectoffersasiteforahuman-machineco-performanceofdyspneaorshortnessofbreath.Iwillconceptualizethesetactile-soniceventsasagentialcuts,drawingattentiontothewaysinwhichinteractionsofdifferentorganicandinorganicelementsproducemovementacrosstrajectoriesofmaterialtransformations.Ofparticularinterestarethosemovements,whichinvolveaffectingairandbeingaffectedbyit.Drawingonthepracticalworkwithsensors,mechanicsandsonictechniquesIwilldevelopanunderstandingof“touch”asafoldingtogetherofmixedtactile-auralsenseexperienceenactedinthishuman-machineco-performance.OlgaTIMURGALIEVA(PL) UniversityofLodz

OnTouching.TheInterspeciesPresenceinSoundEnvironments Track6

ABSTRACTInthispaperIamgoingtoanalyzetheartworks"GutSoundsLullaby"byKarinBolender,"Aurelia1+Hz/protovivagenerator"byRobertinaŠebjanič,"Myconnect"bySašaSpačal,MirjanŠvagelj,andAnilPodgornik,"SwampRadio"byRasaSmiteandRaitisSmits,namely,withafocusonperformativesoundtransmissionandlisteningasawayof“touching”variousspecies.FollowingBarad’sthoughtsaboutthe“differentmodalitiesofsensingasawayofgesturingtowardthemultiplicityofpossibilitiesforsensingtheinsensible,includingthepossibilityofsynestheticexpressionanditsdetection”(Barad,2012b,p.5,n.1),Iinvestigatethementionedartworksasanothersensingpractice,sothatwiththevarioussoundsthelistenerperceivestheworldsofotherspecies.DonnaHarawayexploringthetroubledhistoriesofnatureculturesincludingbreedingpracticesputsforthaquestion“WhomandwhatdoItouchwhenItouchmydog?”(Haraway,2008,p.3).Baradaswellposesasimilarquestion“Whomandwhatdowetouchwhenwetouchelectrons?”(Barad,2012b,p.215).Inthementionedartexamples,wecanaskwhomorwhatdowetouchwhenwe“touch”thedonkey,jellyfish,fungiandwetlandecosystems?Thus,applyingmultispeciesethnography(Kirksey&Helmreich,2010)andnewmaterialistmethodology(Dolphijn&vanderTuin,2012),Iamgoingtodiscusstheissueofmultispeciesaestheticsinartworksentailingsoundproductionthroughdatasonificationandtransmittinginterfaces.Barad,K.(2012a).Ontouching-theinhumanthatthereforeIam.Differences,23(3),206–223.Barad,K.(2012b).Whatisthemeasureofnothingness?Infinity,virtuality,justice.(D.(13),Ed.),dOCUMENTA(13),100Notes-100Thoughts(Vol.99).Kassel:HatjeCantzVerlag.Dolphijn,R.,&vanderTuin,I.(2012).Newmaterialism:Interviews&cartographies.OpenHumanitiesPress.Haraway,D.J.(2008).Whenspeciesmeet.Minneapolis:UniversityofMinnesotaPress.Kirksey,S.E.,&Helmreich,S.(2010).Theemergenceofmultispeciesethnography.CulturalAnthropology,25(4),545–576.


RE:SOUND2019

AnetaTRAJKOSKI(AU) UniversityofMelbourne

TheSpatialEnvironmentsofJanetCardiffandGeorgeBuresMiller Track5

ABSTRACTJanetCardiffandGeorgeBuresMillerhavechallengedmodesofviewing,listening,andexperiencingartsincethelate1980s.ThispapertracesthegenealogyofhowCardiffandMillerhaveconfrontedtheconditionsinwhichtheirartisexperienced.Specifically,thispaperdescribeshowthecorrelationbetweenthemediaandmethodsCardiffandMilleremployhavedevelopedacrossthedistincttrajectories(theaudiowalks,soundandmediainstallations,andvideowalks)oftheirart.Inparticular,itdetailsthedevelopmentofloopingandlayeringsoundasanapproachtocreatingtheirself-described“spatialenvironments.”Inturn,thispaperarguesthatCardiffandMillerpresentdistinctconditionsofexhibition,astheychallengeestablishedmodesoflisteningtoandviewingart.WillardVANDEBOGART(US) EtherShipProductions

CreatingSonicTopologieswithElectronicMusictoDevelopaNewCosmologicalModelofConsciousness Track7

ABSTRACTHowelectronicmusichastransformeditselffrombeingamarginalcompositionalmodeofexpressionforsciencefictionsoundtrackstobecominganintegratedsonicartformtoenhanceemotionalandintellectualmotivationasexploredbyJóhannJóhannssoninhissoundtrackforthefilm,Arrival,isanongoingprocessthatcanleadtoawiderviewofunderstandingourplaceintheuniversethroughtheuseofsonicarticulations.Theemergentprocessofscientificexplorationinthefieldsofasteroseismology,nanotunnelinganalysisofmicrotubulefrequenciesinthebrain,aswellasEMandgravitationalfieldsfoundintheuniverseareproducinganewsonictapestrydefiningthedistributionoffrequencypatternswhichformlifeasweknowit.Coupledwiththesonificationanddirectrecordingofcosmicfrequenciesisthephilosophicalandcosmologicalexpressionsofhowconsciousnessoperatesintheuniverse.Thespatialdomaininwhichsonicartefactsfillthemindwithanewinterpretationofhowcognitivespatialityeffectssoundcompositionattendedandaccompaniedbysubjectiveinterpretationformanewpalletfromwhichanelectronicmusiccomposercandrawfrom.Thesenewsubjectiveformsareadirectresultofadvancesinquantumtheory,universebuilding,lifeoriginsandadeeperunderstandingofthedivineandspiritualcomponentsofourplaceintheuniverse.Delineatingspecificcompositionaltechniquesusedbythecomposerandtheconcomitantresultinthelistenerrequiresattheveryleastawayoflanguagingthecompositionalchoiceswhichareavailablefromnewerelectronicsynthesizersoftwareaswellassignalingobtainedbynewerastronomicalinstrumentation.Lastlyinthisgrandsynthesisofdivergentsourcesoffrequenciesistherecognitionofthediversityoflanguageasacomponentoftheuniverseandasawayofcommunicatingasadirectinfluenceofthecosmicforceswearelivingin.Themusicofthespheresbecomesasteppingstoneintocreatingamusicoftheuniverseasaresultofrealizinghowourconsciousnessandourknowledgeoftheuniverseintertwinetoformanewsonicdimensionthatrepresentsexistenceandmirrorsthefieldsofenergygivingustheabilitytomimictheseforcesintoemergentcompositions.Amethodologicalapproachinhowsuchelectroniccompositionsareemerginginthenewscientificandartisticexpressionswillbeexplainedthroughcombiningvariousresearchprojectsandcosmologicalmodelsthatblendthesetwoevolvingdisciplinesintoanewnotationalsystemforthecomposerandawayforthelistenertoentertainnewreferencepointsinunderstandingthosesonicimpressionsinterpretedbythecomposer.PiaVANGELDER(AU) UniversityofNewSouthWales

TheSydneyPythagoreanMusicSocietyandtheMagicPotencyofSound Track6

ABSTRACTSydney’sPythagoreanMusicSocietywasinitiatedin1911inassociationwiththeTheosophicalSociety,apopularinternationalspiritualmovementthatsignificantlyinfluencedmodernistartistsandcomposersduringthefirsthalfofthe20thcentury.Unlikeotherspiritualmovements,theosophistsmadeconsistenteffortsto


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speaktocontemporaneoussciencewhileemergingexperimentsandtechnologieswererevealingthevibrant,orbitingandplanetarynatureofthematerialworld.ThePythagoreanMusicSociety’s1912concertincludedarrangementsofcomposerslikeCharlesGounodandFelixMendelssohn,whoseworkhadproducedvisual‘thoughtforms’ofinfluentialclairvoyanttheosophistsAnnieBesantandC.W.Leadbeater.Meetingregularlytostudytheharmonyofthespheresandmusicaloccultisminthelibrarywheretheirchoiralsoheldrehearsals,theSydneyPythagoreanMusicSocietydiscussedthecorrelationsbetweenthebehaviourofthemicrocosmicandmacrocosmicworlds.Thegroupincludedmusiciansandcomposersaswellasamedicaldoctorandachemist-inventor,AlexanderBurnettHectorwhodiscussedhischemicalcolourmusicwhilepatentinghisfirstcolourmusicinstruments.Thegroup’sactivitiesandtheoriesarerecordedinperiodicalsandinstructionbooks,discussingscientific,artisticandspiritualapproachestothecorrespondencesofenergeticphenomenafromsound,light,chemicals,heat,electricity,magnetismandtheirphysiologicalandpsychologicaleffects,tothelargerpatternsofnatureincludingthesoundsofanimals,thecycleoftheseasons,totheharmonyoftheplanetsbothastronomicalandastrological.Thispaperwillpresentsomeoftheintersectingdiscoursethatthesepublicationsdocument,positioningtheSydneyPythagoreanMusicSocietyasaninterdisciplinaryartisticcommunityandconsideringthesignificanceoftheir‘musicaspeculativa’.HernaniVILLASEÑORRAMÍREZ(MX) UniversidadNacionalAutónomadeMéxico

Open,HighandLow.GettingDeepintheSoundSourceCode Track4

ABSTRACTThisproposalpresentsaresearchprobleminprocessaboutsoundandmusiccreationwithcomputationalsourcecode.Someauthors(Berry,2011,Ledesma,2015,Cox,2015)pointoutthepossibilitytoapproachsourcecodeasanobjectofresearch.Inthiscontextthematerialsofthesoundartistandcomputermusicianarethetextualcodeandthesoundgeneratedorcontrolledbythiscode.Moreover,asoftwaretowritesourcecodeismade,atthesametime,fromsourcecode,thatistosay,wecanimaginethishappeningintwolayers.ThisideaopensthediscussionIwillpresent–withinthecontextoflivecoding,algorithmiccomposition,interactiveandgenerativesound–relatedtoanapparentdissociationbetweenthetechnologicalandartisticdiscourses.Then,thecentralquestionis:Howtoassociatebothdiscoursesandprocessinmusicandsoundmadewithcode?TounderstandhowthisdiscoursescanbeassociatedIproposetotakethetechnicalconceptofhighandlowlevelsfromprogramming.BasedonthisconceptIproposethatthehighlevelisusuallycenteredintheartisticdiscoursewhilethelowlevelpointsouttothetechnologicaldiscourse,andbetweentheselevelsarevariouslayersthatcanconnectthem.Idon’treferonlytothetechnicalmeaningoftheselevelsbutawaytoexplorethedifferencesandcommonpointsthatcouldexistbetweenartisticcreationandtechnicaldevelopment.Asamusician,Ibelievetheaccesstolowerlevelscouldmakeitpossibletounderstandthecontrolstructuresthatdefinethesoftwaremodesofartisticproduction,whichimpliessomehowdifferentdiscoursesandquestions.Onewaytogodowntothetechnologicallevelsistotakeadvantageoftheopennessoffreeandopensoftware.However,fromthisapproachitcouldalsobeasked:Howopenistheopen?AnnaWALKER(UK) PlymouthUniversity

LocatingtheSoundofTraumawithinMe Track6

ABSTRACTTheprocessofmakingsonicworkwasverymuchaboutdiscoveringthesomethingthatlaybeyondthenoiseinthequiet.Difficulttoverballyarticulate,orexpressthroughwords,thesomethingremainedunknownuntilIembodiedtheviolenceofthenoise;itwasonlythroughtakingthenoiseintomybody,thatIbegantounderstandthequalitiesofquietude.SimonReynoldswritesaboutnoiseas“awordlessstateinwhichtheveryconstitutionofourselvesisinjeopardy”(2006,p.56),“aneruptionwithinthematerialoutofwhichlanguageisshaped”(p.57).Noise:It’s2012,IamseatedinanauditoriuminPlymouth,listeningtonoisemusicianMerzbowplayedreallyloudlybySalomeVoegelin.Ihaveaflashback.Thepastbecomespresentandthepresent–presentdisappears.IambackinNewYork.TheTwinTowersfalling,andIamhearingtheircollapseforthefirsttime,despiteseeingthemfalloverandover,onthecomputerscreenandinmydreams.Inre�livingthenoiseIbecomeawareofthedifferingqualitiesandlayersofsilenceintowhichIhadrenderedtheloudnessofthefallingtowers.Voegelinwritesofnoise’sabilitytoforceaninteractionwiththetraumaofthereal:“Noiseistheautisticrevelationofwar,speechlessbutfocused,producingaheavyweightinafleetingtime”


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(2010,p.43).Merzbow’sworktransgressesboundarieswithferociousdissonance,hedescribesnoiseasthe“unconsciousnessofmusic”(2004),whichpushesmebeyondstructure,beyondthesymbolic,intotherealmofjouissancetoconfronttheterrifyingandtheunknowablebeyond.Itissoundthatforcesmetobequiet.Iaminawe.Ihavenochoicebuttobowtothenoise,asitleaksfromeverypore.Iamnoise,Iamneverquiet.Thispaperisaboutthesoundsoftraumaticmemories,thoseweunconsciouslyburyforthe'right'momenttosurface,thosethatareconstantlyalivewithinusatanygivenmoment.RachelWARD(US) SimonFraserUniversity;NDSRArt

PreservingtheLegacyofPioneeringWomeninArtandTechnologyinNewYorkCity(1970-90s) Track2

ABSTRACTTheartistsCaroleeSchneemann(mediainstallation),DianneBlell(digitalphotography)andLaurieSpiegel(electronicmusic)areallintheprocessoftransitioningfromproductiontoarchive.Iamfocusingontheirartfromthe1970-90sinwhichtheypioneerednewformsoftechnology.Althoughtheymadesignificantcontributionstothefield,nonehavefoundsuitablearchivesfortheircollections.Currently,theyarestoredintheirhomes,studiosandsheds—andmanypieceshavealreadyfallenvictimtotheinevitableprocessofdecayandobsolescence.Throughethnographicworkintheirstudios,Istrivetounderstandwhytheseimportantworksarenotbeingsafeguardedbythemuseumsorgalleriesthatrepresentthem.MyapproachissimilartoAceves-Sepulveda(2017)andHennessy(2013;forthcoming),whoaimtogivevoicetounheardstorieswithininstitutions.Indoingso,italsocallsintoquestiontheinfluencethearchivehasonsocietyassomethingcreatedbythoseinpower,whereby“certainvoicesthuswillbeheardloudlyandsomenotatall"(Schwartz&Cook2002:13).Myapplied,hands-onwork—inventorying,documenting,digitizing,andarchivingwhileethnographicallyrecordingtheprocess—demonstratesthepossibilitiesforthemanyfields(anthropology,mediaarchaeology,feministarchiving,arthistoryanddigitalconservation)toworkincooperationasa“projectoffeministexcavationofwomenartistsoverlookedandneglectedbythemale-dominatedart-historicalinstitution”(Noble2000:xxxiii).Bydevelopingthiscollaborativelegacyproject,mygoalistoelevateandpreservefirst-handknowledge,ratherthanconductasalvagemissiontointerpretworkposthumously.Ibelievethatoralhistoriesofthelate-careerarchivingprocess—asalastreflectiononobjects,memories,creation,challengesandinspiration—willbeasalientpieceofculturalheritagetopreserveforfuturegenerationsofart,genderandtechnologyresearchers.JulianWEAVER(UK) FinetunedLimited

FutureAudition:ListeningtoPromisesof‘UnlimitedPowerfortheIndefiniteFuture’ Track6

ABSTRACTFutureAuditionpresentsasonicinvestigationofNuclearFusion,itsongoingquesttobecomethepowersourceofthefuture,anditswiderimplicationsintermsofenvironmentandenergylandscapes.Derivingfromfield-workundertakenatEurope’sleadingfusionresearchcentresduringacollaborativeresearchcommissionfromtheCentrefortheGeohumanitiesatRoyalHollowayintheUK,FutureAuditionunpicksfusion’smantraofunlimitedenergyfromunlimitedsources:thepotentialsourceof“safe,non-carbonemitting,virtuallylimitlessenergy”fuelledbyseawater[Iter,2018]-throughadeepexplorationoftheunderlying(seawaterderived)fuels,processes,infrastructuresandsupplychainsthatenableexperimentalfusionresearchtooccur.‘Always30yearsaway’,asthejokewouldhaveit,Fusionenergyis“adreamthathauntsthefuture”[Pinkus,2016].Theexpandedcontextoftheresearchprojectintentionallyputsfusionenergy'inplace',thusre-entanglingitsmissionto'createasunonearth'withenvironmentaldiscoursesaroundlandscapeandpower,extractiveeconomies,globalresourcesandstrongsustainability.Drawingontheproject’sfield-recordings,audificationsofreactordataandcapturedroboticandmaterialscienceprocesses,FutureAuditionwilltransmitsomeaspectsofthesecurrentandfutureentanglementsinthecontextofwhatMarkPeterWright(2017)hastermedPost-NaturalSoundArts;where‘non-invasive’ecologically-focusedsonicpracticesareasillusoryasNatureitself.


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AnnaYERMAKOVA(US) HarvardUniversity

ArchivalChronotopes Track8

ABSTRACTUnificationistpursuitsareimpossibletoarchive.Postdatedfixityofcatalogues,categories,andontologicalstructuresclosetsoffthebodiescentraltounificationistepistemologies.Nonetheless,wehearresonanceacrossvariousvoices,institutions,places,endeavors–ofanalternatemodernitythatdidnotsurvive.Amodernityperpetuallysilencedbytheforeign(toit)structuresofitselements.Foranintenselylisteningresearcher,however,despitenotknowingthesources,theechoresoundsloudly.Unclosetingtheembodiment,then,becomesafocalpointofthisresearch.Theresearchinglistenerisfarfromanexcavatorofarchivaltraces;sheisanimproviserwhoisperpetuallysituatingherownsomaticbodyinasoundscapeofvarioushypotheticalnarratives.Sheisoccupiedwithholisticways-of-beingthatleftnotrace,andtreatsnodesofarchivalartifactsaspotentialitiesofunfamiliar(toher)multi-dimensionalontologies.Non-cataloguedsoundbytesofthearchivecontributeascuriousartifacts,too.Thisincludesvoicesofthehumansthatinhabitandattimesembodythearchiveitself.Thisalsoincludespoly/a/non-rhythmicityofthearchivalobjects,withparticularattentiontospecialeventslikere-cataloguing,re-shufflingofexistingdatainlightofnewmindfulinsightsormindlessdirections.Theresearchtravelsbeyondthearchivetoo,andcollects,insoundwalksandnon-intrusivecompositions,echoesofthatelusiveholisticalternatemodernity.Shehearsthemasmimicry,andnoticestheirstubbornrefusaltogiveintoarchivalossification.TheparticularsitesofthisworklieintheformerlateRussianEmpire—presentdayRussia,Ukraine,Georgia,Armenia.Theechoesofvariousspacetimesresonatethroughacertainpreconditionforaunifiedreality:allowingforandaspiringtowardsco-existenceof(logical,artistic,social)contradictions.Fromthesepreconditions,thealternatemodernityofunificationismariseseffortlessly,andthearchive’sfixitiesnolongerpresentthemselvesashurdles.Thistalkwillincludeacomposition-improvisationwheremylivenarrativeofvoiceandbodywillinteractwithapre-structuredaudiomaterialcollectedfromthreeyearsofresearchinthesitesdescribedabove.SomewhatakintoHildegardWesterkamp’sKitsBeachSoundwalk,theperformancewillzoominandoutofarchivalnodes,toinvitethelistenerintoanemergingsoundscapeofthisalternatemodernitythathasbeensosuccessfully,fornowoveracentury,unheard.SoojungYI(KR) NationalMuseumofModernandContemporaryArt,Korea

SounguiKim'sArtisticPracticeandVision—SoundandSilencesince1970suptoNow Track2

ABSTRACTSounguiKIM(1946~)wasoneofthepioneersinKoreawhohasbeenworkingontheexperimental,conceptualartwithvariousmediasuchasvideo,multimedia,sound,andperformances.Shehasbeenworkingasanartistandalsoresearcherinthemeof"spaceandtime",and"emptiness(空)“fromtheperspectiveofZhuāngzǐ(莊子)'sTaoismandZenphilosophy."Sound”and"Silence"areherartistictopicsincemid1970s.ShepursuedtheartwithoutmaterialssothequestsleadnaturallyhertotheFluxusandTaoismsuchas"emptiness".In1975,sheorganizedthefirstmulti-disciplinaryeventwithchoreographer,composer,pianist,andperformersinSeoultitled"Space-Time".Inthisproject,shetriedtodigintothemeaningof'coincidence'inourlivesandthe'irreversibility'ofeverymoment.Thissite-specific,time-specificperformancegaveashockbuttheaudiencecouldn'tunderstandherexperimentalpractice.UntilNamjunePaikcamebacktoKoreaintheearly1980s,mediaartwasn'tacceptedbytheartworldproperly.Moreover,themale-orientedsocietywasnotreadytoacceptKIMasthecolleagueintheartisticcircle.SinceKimwaswomenandexperimentalartists,shecouldn'tfindherroominherowncountryuntilSouthKoreastartedtoopenitsgatetotheglobalarttrendandthewomencuratorsstartedtoworkactivelyintheearly1990s.Forthispaper,Iwillintroduceherearlyprojectonsoundandhermajorprojectsuchas"Vidéoetmultimedia:Soun-guiKimetsésinvites"andhersoloexhibitionatKunidachiColleageofMusicat1991.“Vidéoetmultimedia:Soun-guiKimetsésinvites"washeldinMarseille,1986andlaterworks.Inthisfestival,sheinvitedJohnCage,NamJunePaik,PhilipCorner,IraSchneiderandotherartistsforViélleCharite.Kunidachiexhibitionreflectedhervisionontherelationbetweensoundandvision.


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IzabelaZAWADZKA(PL) JagiellonianUniversity

SearchingforSilence—Audio-WalkingPerformance Track4

ABSTRACTWhenwasthelasttimeyoulistened?Notheardbutlistened.Andwhatisthesoundofthecityyoulivein?Howtoswitchthefocusofpedestrianstotheaudiosphereofthestreets?ThosequestionswerecrucialatthebeginningofevolvingtheideaofwalkingperformanceinKrakow.Walkingbecameaninternationalphenomenon.Lastyearsthisprosaicacthasbeensubjectofworkindifferentbranchesofstudies(philosophy,socialstudies,historyofart).Thereisnothingsurprisinginfactthatalsoperformanceandtheatreartistsstartedtoreachfromtheartofwalking.Pedestrianperformancesarequitenewbutstillreallyinterestingandcreativetheatricalevents.Theyhavedifferentforms(blindwalks,audiowalks,gamewalks),buteverytimetheyusesimilar,specificmethodsofengagingtheparticipants(notanymore‘viewer’)intothespectacle.Walkingperformancesgivealsofantasticopportunitytoemphasiseimportantissuesinpublicsphere.AsapartofresearchandartisticcollectiveTetroIhavestartedtoworkonanaudio-walk,whichusesthesoundtissueofthecitystreets,asksimportantquestionsofthenatureofthesoundsand(followingR.M.Shaffersideas)searchesforthecalmfulspacesinthecity,whichcouldbeanescapefromthenoiserush.InmyspeechIwouldliketopresentthemainfeaturesofwalkingperformances.Focusingontheaudio-walksIwilldiscussthetoolsandmethodsusedinordertocreateaspecifictheatricalevent.Thepremiereoftheaudio-walkingperformancepreparedbyTetrocollectiveisplannedonMay2019.InmypresentationIwillsharemyresearchandexperienceofworkwithsoundmaterial,audienceresponsesandtechnologicalaspectsofthework.MagdalenaZDRODOWSKA(PL) JagiellonianUniversity

FromSilentFilmstotheDeafeningEffectoftheCinema:DeafViewersandtheMetaphorofDeafness Track4

ABSTRACTSilentfilmmadenodistinctionbetweenhearinganddeafviewers.Althoughnevercompletelywithoutsound,withitscinematicorchestras,narratorsandgramophonerecordsfillingtheauralspacesoftheearlycinemas,silentfilmprovideddeafviewerswithmoreinformation.Bylipreading,theywereabletodecodethe(sometimesinadequateandobscene)wordsspokenbytheactorsontheset.Buttheintroductionofsoundchangedfilmcompletelyandcreatedabarriertobothdeafviewersandactors–thelatterhavingtoleavethefilmindustry,alongwiththevariousimmigrantactorswithheavyaccents.InthepresentationIamgoingtoinvestigatethecomplicatedrelationshipbetweenhearingandnon-hearing,noiseandsilence,soundanditsabsenceinthehistoryofcinema,aswellastheirresultingstrategiesandpractices.Iwillbeginwiththoseundertakenbydeafaudiencestodealwiththeirnon-hearingofsoundfilmsinthefirstfewdecadesofitsexistence,suchaspetitionstofilmproducers,experimentswithtranslating,andthecaptioningandreviewingoffilms.Iwillalsolookattheemergenceofanewtypeofdeaf,signedstorytelling–thecinematicstory,retellingafilm’splotwithcreativefilling-inofpartsthatcouldnotbeunderstood.Thedevelopmentofcinematographicsoundiscloselytiedtothecompaniesprovidingsoundtechnologyforthedeaf,withtheOscarforSoundinDisney’sPhantasiafamouslyreceivedbyLeopoldStokovski,incollaborationwiththeBellLaboratories.Finally,thedevelopmentofsoundinfilmwillleadustotheideaofthe‘deafeningeffect’ofcinema,inwhichdeafnessisusedasametaphorforthenewaestheticelementintroducedbyDolbySurround.Sincethe1970s,thisdeafeningsoundwas(andstillis)supposedtostunviewers(andlisteners!),justasspecialvisualeffectsdo.Butitalsodemandsoneofthemosticonicelementsofdeaf-targetedaudiologicalelements:sound-proofrooms.BrettZEHNER(US) BrownUniversity

DarkSituationismatRAND:AMediaArchaeologyofScenarioBuildingandtheAestheticFormalismsofFuturology Track7

ABSTRACTOnthesunlitcampusofArizonaStateUniversityliesthedecisiontheater.Withinthisrelativelynon-descriptbuilding,aratherremarkablesetofpracticescoalesceintowhatcanonlybedescribedasaversionof


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"experimentalpolitics."(Lazzarato,2018.).Thedecisiontheaterclaimsthatit'visualizessolutionstocomplexproblems.'Breakingdowndivisionsbetweenformsofknowledgeproduction,thedecisiontheaterwrapstogetherdatavisualization,interactivecomputation,augmentedreality,andpublicplanningdiscourseintoanimmersivecomputationalenvironment.Theforecastingtechniquesofthedecisiontheater–predictingandrehearsingforuncertainfutures–haveatroublinggenealogythatstemsfromthecoldwarrationalismoftheRANDCorporation.HermanKahn,headresearcherattheinfluentialRANDCorporationduringthe1950's,isconsideredthefatherof'scenarioplanning.'Kahnmobilizedcomputationallogic,theoriesofeconomicbehavior,andgametheorytodevelopcutting-edgemilitarystrategies.Attimes,thepracticesofKahn'sRANDresearchgroupseemedcloselyalignedtointermediaperformanceart.IclaimthattheworkofKahnandtheRANDCorporationisanexampleofinterdisciplinarypara-sitesofknowledgeproductionwhichsuspendthedifferencebetweensciencefactandartisticsciencefiction.ThisblurringofepistemicdistinctionsallowedKahntomodelthepotentialsofthefutureandassertcontroloverthepresentbyinscribinganalgorithmiclogicontopoliticaldecisionmaking.Theentanglementsofscientificknowledge,artisticexperimentation,andpoliticaldecisions,coalesceintoaself-legitimizingmodeofepistemicpower.ThispaperlookstotheearlypracticesoftheRANDCorporationanditsattempttoweaponizeartisticstrategiesandsciencefictionalscenariostosupplementits'morerigorous'economicandpoliticalclaims.HereIaimtoisolatetheformalmediationallogicunderpinningscenariomodelingandtoilluminateitsusesin'futurology'today.Foracounterpoint,IlooktosocialpracticeartformswhichdevelopedalongsidetheRANDCorporationandutilizedsimilaraestheticformalismsofthesituationandthescenariotoproducenewfutures.Itismyclaimthatthesediversesetsofpredictivepractices,acrossthedisciplines,arenowinscribedintotheubiquityofcomputationandthemachinelearningwithinalgorithmicgovernance.ThedarksituationismoftheRANDCorporationoffersanopportunitytoexaminetheformofthescenarioassomethingtoexperimentwithbytheleft.Thistalkultimatelyasks,howdothemicro-sitesofexperimentalism–thelaboratory,thedecisiontheater,thecomputationalalgorithm–inscribepervasiveformsofpoliticalsubjection?MOON(MartinaZELENIKA)(HR) Independentinterdisciplinaryartist, MOONStudio

TheSoundofMineralStone:ChemicalPropertiesofCivilisation Track6

ABSTRACTThepaperexaminestheresultofalaboratoryanalysisofmineralstoneswithmetalpropertiesthathadanimpactonraisingtoday’scivilization.Throughtheartisticprismofintuitiveperceptionsandfactualscientificanalyzes,inthiscaseIpresentthephenomenonofdarkmatter(untouchablemateria)andChangephenomenonasitsabsoluteconstantintheUniverse,showninmaterialforms:audibly-asoundsofmineral-stones,visibly-geomorphicreliefs(2xdiptych,1xtriptych).IncollaborationwithRuđerBoškovićInstituteinZagreb,hasbeenusedaquantummechanics,X-raypowderdiffraction(XRPD)whichdealswithparticleanalysis,determinationofchemicalandcrystallographicproperties,andahigh-resolutionscanningelectronmicroscopeformaterialanalysiscalledFESEM.Naturalmineral-stonesare:goldPyrite(FeS2),silverGalena(PbS)andblackSphalerite(ZnS).EachofthreemineralstoneshasbeenanalyzedbyX-raysforcrystaldensityanalysis.Theobtaineddataisusedforfurtherprocessingintosound.Thusitwas“drawnout”oftheinvisibledimension–asoundofminerals.Howmineralstonesbecomeatriggerforcreatingavisualart?Whattoolshasbeenusedforprocessingandwhatisthemainmotive?Inthisproject,thecombinationofmineral-stones,sounds,visualgeomorphicstructures-reliefs,makesauniquefusion.Themaingoalofanalysisandinthiscreativeprocessistransformationinvolvedfromonemateriatoanother,thusfromonemediatoanotherprimarilyfocusingontherelationsofvisualformsandsoundsthatresultinaudio-visualsofisticateddesignandspeculativemeaning.FreyaZINOVIEFF(CA) GabrielaACEVESSEPÚLVEDA(CA)SimonFraserUniversity SimonFraserUniversity

BorderlandsandBinaries:More-than-humanListeninginaTimeofEcologicalCrisis Track2

ABSTRACTThispaperexploresthepotentialforsoundandlisteningtoelucidatethematerial,gendered,andthegeopoliticalentanglementspresentinborderlands.Artificiallydemarcated,borderlandsarewhatPrattunderstandstobecontactzones,“socialspaceswhereculturesmeetandgrapplewitheachotherincontextof


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highlyasymmetricalpowerrelations”(Pratt1991).ExtendingPratt’sformulation,Harawayconsiderstheecologicalconceptoftheecotone,atransitionalareabetweentwoecosystems,andaplacewheretherichesofevolutioncongregate(Haraway2008).Inthispaper,IbuildonPrattandHaraway’sideasofthecontactzoneandfocusonthesoundscapethatispresentintheseplacesasasonicblueprintoftherelationshipsbetweenspecies,technologiesandgeology.Colonialhistoriesandthegeopoliticssurroundingtheformulationoflandanditsresourcesweavethroughborderlands,andthewayward,fluidnatureofsoundintheseplacesoffersusanopportunitytocultivatethepracticeoflisteningasactivism.Idiscusstwofieldrecordings,onefromtheJavaSeainIndonesia,andtheotherfromthebordertransposedontheGeorgiaStraightinthePacificNorthWest.Bothplacesareknownfortheirecologicaldiversityanddifferentdegreesofviolenceperpetuatedtoallkindsofbodiesthatattempttocrosstheirgeopoliticalboundaryzones.Iarguethattobeanactiveparticipantinthesoundscapenotonlyaffordsthedeconstructionofthebinariesbetweenselfandconceptionsofother,butenablesanexperienceofconnectiontothemore-than-human.Moreover,throughthisexperienceofconnection,thepossibilityforasensoryandembodiedrelationtolandandspeciesbreaksdownthegenderbinarythatuntilrecentlyhasbeenperpetuatedbyscientificdiscoursesandpatriarchalstructures.Thepaperwillbepresentedasaseriesofqueriesandsoundfiles,andaudienceinteractionisencouraged.Haraway,DonnaJeanne.2008.WhenSpeciesMeet.Posthumanities3.Minneapolis:UniversityofMinnesotaPress.Pratt,MaryLouise.1991.‘ArtsoftheContactZone’.Profession,33–40.

conference program & book of abstracts

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