::: 2006 event archive :::
always looking for performance and workshop opportunities throughout the year. if you have a proposal, please get in touch!
“An Evening of Experimental Music” A program of visceral electronic music, five performances culminating with a rare solo set of ecstatic ur-drone and deep sunset epiphany by Brendan Murray. Also, the return Boston performance (he made his Boston debut at First Night in 2003) by Birchville Cat Motel, a.k.a. Campbell Kneale from New Zealand, whose soulful noise takes in elements of classic minimalism (think Eliane Radigue and Tony Conrad) and heavy metal thunder (think Iron Maiden and Slayer). Other performances will be the world premiere digital duel of Frans de Waard (aka Kapotte Muziek, from the Netherlands) & local favorite Keith Fullerton Whitman ; a thick cake of analog fog by the trio of Skeletons Out (Jay Sullivan & Howard Stelzer on turntable & tapes, respectively) with Richard Francis (aka Eso Steel, from New Zealand); and some seriously heavy sleep by Murmer (formerly of New England, currently of actual England). Curated by Howard Stelzer, proprietor of the Intransitive Recordings label, which is world famous depending on who you ask.
free with festival button
hyne’s convention center, room 106
boylston street, boston
time and price tba
!!!CHANGE OF VENUE!!!
6029 avenue du parc
between 7-10pm est
wzbc 90.3 fm, boston
live stream here
400 carroll street, brooklyn, nyc
(between bond and nevins)
international symposium for sound and mixed media art
Pushing the Medium 3
“Pushing the Medium” is an international symposium of sound and mixed media artists. The event entails a series of laboratory sessions together with concerts and conferences. Its focal theme is “the experiment of sound as a mean of expression in its relation with space and with physical experience”. It is organized by the Orchestra Filarmonica of Udine (Italy) in collaboration with the Topolo’/ Topolove Cultural Association and Università degli Studi di Udine.
Friday October 13th – Opening of PTM#3
Sunday October 15th
Yannick Dauby (FR), Urkuma (IT), Antonio Della Marina (IT), Olivier Feraud (FR), Klaus Filip (AT), Alessandro Fogar (IT), John Grzinich (US/EE), Noid (AT), Karen Hay (UK), Hitoshi Kojo (JP), Murmer (US), Paulo Raposo (PT), Giancarlo Toniutti (IT).
Teatro Miela, Trieste h.21:00
Tuesday October 17th h10:30
Artist lectures and discussions
– Yannick Dauby: Between Soundscape, Umwelt and Phonography
– Karen Hay: Hierarchy of the Senses: Non-descriptive Sound versus Visual Imagery
– Olivier Feraud: “Dare la voce”, elements for an anthropology of sounds in Naples
– John Grzinich + Hitoshi Kojo + Patrick McGinley: Explorations in Acoustic Sound
– Paulo Raposo: Space in sound. Different and radical aproaches
Wednesday October 18th h10:00
Artists lectures and discussions<
– James Dashow: The Diad System
– Alessandro Fogar: Soundscapes and spacial distribution of sound, personal approaches and techniques
– Antonio Della Marina: Numbers in music
– Giancarlo Toniutti: ábang náda me‘t’, cy‘t’ tfyrged’-esang (I need copper to weld the bow) – The notion of mesostructure
– Francesco Michi: The Noisy being, video by Francesco Michi e Mechi Cena
Thursday October 19th
h 11:00 / 17:00
Stefano De Santis: The circuit bending
h 17:30 / 19:00
Francesco Michi: What We Talk About When We Talk About Acoustic Design – part one
Friday October 20th
h 11:00 / 17:00
Klaus Filip and Noid: Lloopp. Open source freeware for live audio/video manipulation
h 17:30 / 19:00
Francesco Michi: What We Talk About When We Talk About Acoustic Design – part two
Saturday October 21st
AVVA (Toshimaru Nakamura + Billy Roisz) in concert
Pabitele Art centre, Udine h. 21:00
Sunday October 22th
Yannick Dauby (FR), Urkuma (IT), Antonio Della Marina (IT), Olivier Feraud (FR), Klaus Filip (AT), Alessandro Fogar (IT), Noid (AT), Karen Hay (UK), Murmer (US), Paulo Raposo (PT), Giancarlo Toniutti (IT)
Teatro San Giorgio, Udine h.21:00
Monday October 23th – Closing of PTM#3
w/ my_ym, hitoshi kojo, katherine liberovskaya, phill niblock
andrejostas iela 4
moks summer international art symposium
PostsovkhoZ6 Inimloomaed / Human Zoo
“PostsovkhoZ started as open forum to question the social, cultural and economic issues facing rural life in post-soviet Estonia. PostsovkhoZ has developed into a multi-purpose, cross-discipline event for creative interventions in a context-specific location. This year’s theme: Human Zoo.
keywords: captivity, borders, observation, surveillance, domestication, animal behavior, instinct, security, connectedness, artificial and natural environments
This year MoKS will take a rather ironic approach to its summer art symposium with the theme “Human Zoo.” As for the local residents it sometimes seems as if the village becomes “occupied” by artists in early August during PostsovkhoZ when foreigners from around the world come to explore and create in Mooste. And for visiting artists, there is the unique feeling of being “set free” to wander and work among the people and places of the village. The symposium arrangement of the observer and the observed is a subjective one depending on the position you view it from. In the cases of active collaborations between inhabitants and visitors, the borders appear then often dissolve through whatever communication processes may be used. Yet, in many cases beyond the quiet village life, barriers for people are also constructed by physical, psychological and technological means. Our perception of these conditions is often guided by our awareness of their existence.” – from the moks website
for postsovkhoz6 I will be creating a new sound installation entitled gate:
building on my experience at pz5, and on my theatrical background, this year’s theme of ‘the human zoo’ provides a perfect opportunity to explore the ideas of voyeurism and the understanding of human behaviour from within the framework of the participatory/performative sound installation/experience. from the start i must credit a strong influence on my (continuing) development of this idea by the british performance group rotozaza, whose explorations into the use of instructional sound within a stage presentation have left quite an impression on me (see www.rotozaza.co.uk). this structure also enables me to create a piece more clearly tied to the environment of moks and mooste than last year’s ternal, which, while moks’ basement setting was the perfect aesthetic location for the piece, was an independent creation that could theoretically exist elsewhere. so, in a nutshell…
this piece consists of two interrelated elements: the visual experience of it’s physical location/activity, and the aural experience of it’s central sonic skeleton. these elements are interrelated, but not intertwined, in that they are experienced separately. a defined space (a figurative, if not a literal, ‘cage’) exists in a chosen location, perhaps delineated by a small ground cover, or four objects creating corners, or literal bars. at any one time, two participants may enter this space. when in the space they are each presented with two objects: a blindfold, and a pair of headphones. whether they are actively provided these objects by myself or some other assistant, or whether these objects are simply present within the space to be used or ignored, remains to be seen. but they will preferably be provided in such a way that they are interdependent – that the headphones may not be worn without the blindfold and vice versa.
once wearing blindfold and headphones, the participants find themselves in another world. they find themselves in a blind soundscape constructed of sounds from the surrounding environments of moks and mooste. the sounds are recorded binaurally, creating as real an experience for the listener as possible. the created soundscape, however, is imaginary – this is not a simple field recording of a stroll around the village, but a figurative recreation of the sonic possibilities of our literal location – as in a dream. but within this soundscape there is also the creation of a more literal relationship: having entered this caged space, the participants are confronted by their captor. an occasional voice arrives to guide the participant through their experience, providing them with some direction and order. these directions relate to the space of the cage, to the inflicted blindness, and to the (possible) presence of another participant. they are simple instructions (sit, kneel, yawn, reach for the hand of your partner) that are there to be followed or ignored.
so within this cage we have two participants, ie two soundscapes. these soundscapes are individual and very different. however, they are linked by the captor’s voice – directions being given bring about interaction and/or conflict, and will most likely lead two participants to presume that they are occupying the same world. only afterwards will they find out (or not) that in fact their universes inside the cage were completely different.
so we have a cage and it’s residents – we also, of course, have the visitors, who may have been, or will soon become, residents of the cage themselves. from outside the cage we hear nothing of the soundscape, we can only observe, perhaps undetected, the inexplicable behaviour of the blind participants, reacting and interacting based on the instructions they are receiving. from outside we cannot understand, but of course desire an understanding, of those that appear so close but remain at such a distance.
the soundscapes and the cage can be entered of left at any time by a participant – there is no beginning or end, and the cage’s bars do not hold…
heliveski (sound mill)
culmination of the first weeks activities at the postsovkhoz6 arts symposium in mooste, estonia. program of live video and sound works – my_ym, ivars smits, hitoshi kojo & murmer present a live improvised soundtrack of objects and field-recordings for a film produced during thepostsovkhoz5 festival last year; kojo, jgrzinich and eku present their clinamen tides performance; kukkiva poliisi present a live improvised sound & video performance; katherine liberovskaya & phill niblock each present sound and video installation.
mooste manor house
a site-specific series of acoustic location manipulations and improvisations, at avangard, a derelict soviet communal farm in the estonian countryside. this presentation takes place on jannipaev, the estonian mid-summer’s night celebration.
die hörbar @ b-movie
st. pauli, hamburg