Bergen Center for Electronic Arts

Syndicate content
Works in progress.
Updated: 3 hours 4 min ago

BEK søker informasjonsmedarbeider

Fri, 09/30/2016 - 14:38

Ved BEK – Bergen senter for elektronisk kunst er det ledig ett korttidsengasjement i en 20% stilling (en dag i uken) som informasjonsmedarbeider. Engasjementet varer ut juni 2017. Søknad sendes elektronisk til bek@bek.no
Søknadsfrist 17. oktober

Informasjonsmedarbeider søkes

Ved BEK – Bergen senter for elektronisk kunst er det ledig ett korttidsengasjement i en 20% stilling (en dag i uken) som informasjonsmedarbeider. Engasjementet varer ut juni 2017.

BEK er et nasjonalt senter for kunstnerisk utviklingsarbeid i kryssningsfeltet mellom kunst og ny teknologi, og vår virksomhet er særlig rettet mot tverrfaglige kunstpraksiser. Vi initierer kunstnerisk produksjon, og bistår arbeidsprosesser med kunstnerisk, teknisk og praktisk prosjektutvikling. BEK kommuniserer med et stort nasjonalt og internasjonalt nettverk av forsknings- og kunstmiljøer, om blant annet kunstproduksjon og programvareutvikling. BEK er også en del av et internasjonalt EU-finansiert utviklingsprosjekt, FutureDiverCities frem til 2020.

Stillingens arbeidsområde:

- Informere om BEKs prosjekter og øvrige virksomhet i flere kommunikasjonskanaler
- Bidra til en god utvikling av hvordan BEK kommuniserer
- Bidra til flyt i kommunikasjonsarbeidet
- Rapportere til våre tilskuddspartnere

Majoriteten av vårt informasjonsarbeid foregår på norsk og engelsk. Alle arbeidsoppgaver vil foregå i tett samarbeid med øvrige ansatte.

Kvalifikasjoner:
- Utdanning innen kunst eller andre estetiske fag
- Relevant kompetanse gjennom utdanning og erfaring
- Svært gode evner til å uttrykke seg skriftlig og muntlig på både norsk og engelsk.
- Gode samarbeidsegenskaper og kommunikative evner
- Erfaring med fotografering og videodokumentasjon
- Erfaring med tekstproduksjon for publisering
- Kunnskap om bilde- og videoredigering
- God kjennskap til de lokale samtidskunstmiljøene i Bergen
- Å kunne arbeide raskt innenfor korte tidsfrister

Søknad sendes elektronisk til bek@bek.no
Søknadsfrist 17. oktober
Engasjementet starter umiddelbart etter at søknadene er vurdert.
For mer informasjon: Daglig leder, Lars Ove Toft, 922 85 861. www.bek.no

Time and place:
  • BEK - 30/09/2016 to 17/10/2016

Exploring „Voiceland“ - residency and artist talk

Wed, 09/21/2016 - 13:23

Mareike Dobewall and Gisli Gretarsson will do a residency at BEK in mid Octobre. Friday 21st they will share their findings in an artist talk and discuss the future of their project „Voiceland“.

In september this year scenographer & director Mareike Dobewall and composer Gisli Gretarsson have experimented with spatial composition together with the Icelandic choir Hymnodia in Akureyri, Iceland. From 13. to 24. october they will expand their practical research of the spatial composition of 17 voices during a residency at BEK. At the end of their residency they will share their findings in an artist talk and discuss the future of their project „Voiceland“. This pre-project was funded by Art Council Norway.

About the artists:
Mareike Dobewall (1984) has both theoretical and practical training as director and scenographer (Kaskeline Filmakademie, Norwegian Theatre Academy). She has worked with film, theatre, dance, opera and installation art. In the past years she has put a main focus on the qualities of sound in life art.
www.mareikedobewall.com

Gísli Grétarsson (1983) is originally educated as classic guitarist. That lead on to undergraduate and graduate studies in composition, with orchestral conducting as minor subjects, at Piteå College of Music in 2012. His work ranges from operas, song cycles, concertos, choral music, to orchestral work.
www.gjgretarsson.com

Hymnodia is a progressive chamber choir from Iceland that specializes in modern choir music and baroque music. The choir has 17 members. Hymnodia is characterized by an emphasis on the performance of demanding works and makes frequent use of improvisation in concerts.
http://hymnodia.is/

Time and place:
  • BEK residency - 13/10/2016 to 24/10/2016
  • BEK artist talk - 21/10/2016 13:00

New ATK for Reaper installer - and video tutorial

Mon, 09/12/2016 - 21:41

ATK for Reaper version 1.0.0 beta 10 is now out, and a new screencast has been made on how to encode mono sources to ambisonics.

Download most recent version here

Utlysning Morten Eide Pedersens Minnefond

Tue, 09/06/2016 - 19:59

Avgarde har lyst ut at det nå kan søkes om tilskudd fra Morten Eide Pedersens Minnefond.

Paper and lectures at SMC 2016

Tue, 08/30/2016 - 10:52

The paper Authoring spatial music with SpatDIF Version 0.4 by Jan C. Schacher, Nils Peters, Trond Lossius and Chikashi Miyama will be presented at the 13th Sound and Music Comuting Conference and Summer School in Hamburg.

In addition to attending the conference, Trond Lossius has been invited to lecture at the Summer School, offering perspectives on Current issues in multimedia performance, and a lecture on Ambisonics and SpatDIF.

Authoring spatial music with SpatDIF Version 0.4

by Jan C. Schacher, Nils Peters, Trond Lossius and Chikashi Miyama.

Abstract

SpatDIF, the Spatial Sound Description Interchange Format is a light-weight, human-readable syntax for storing and transmitting spatial sound scenes, serving as an independent, cross-platform and host-independent solution for spatial sound composition. The recent update to version 0.4 of the specification introduces the ability to define and store continuous trajectories on the authoring layer in a human-readable way, as well as describing groups and source spreading. As a result, SpatDIF provides a new way to exchange higher level authoring data across authoring tools that help to preserve the artistic intent in spatial music.

Time and place:
  • Sound and Music Computing Conference 2016, Hamburg - 26/08/2016 to 03/09/2016

Spanish paper on Ambisonic Toolkit for Reaper

Tue, 08/30/2016 - 09:48

The latest edition of Ideas Sónicas / Sonic Ideas (Vol. 8 No. 16) offers a Spanish translation of a paper by Trond Lossius and Joseph Anderson on the Ambisonic Toolkit for Reaper plugins.

Ideas Sónicas is published by CMMAS – Centro Mexicano para la Música y Artes Sonoras.

This is a slightly revised version of a paper that was first published in 2014 at the joint ICMC/SMC conference in Athens as ATK Reaper: The Ambisonic Toolkit as JSFX plugins.

The Spanish version of the text, ATK Reaper: Una versión en plugins JSFX del Ambisonic Toolkit, has been translated by Lucas Samaruga. This publication will help making these plugins more accessible to Spanish music communities worldwide.

Ideas Sónicas is available in print and can be accessed online for free. You are required to register with an account. Once that is done, the Spanish version of the paper can be accessed here.

The authors would like to thank Oscar Pablo Di Liscia of CMMAS for this imitative.

More information about Ambisonic Toolkit can be found here

Time and place:
  • Ideas Sónicas / Sonic Ideas - 30/08/2016 to 30/09/2016

BEK collaborate with Bergen Assembly

Wed, 08/24/2016 - 13:57

BEK is co-producing several projects for this years Bergen Assembly. Since 2014 we have developed content together with Bergen Assembly-curators, artists and administration. It has been a deep digging experience, and we are looking forward to see, hear and feel the results.

About the projects:
Ouroboros is an instrument developed by Espen Sommer Eide for the Bergen Assembly triennials instrument/performance program Within. The instrument is developed in cooperation with deaf performers or with different levels of hearing. The instrument is comprised of custom made microphones, pedals and speakers. Through vibrations in the instrument, feedback sounds/vibrations are generated and shaped in the mouth cavity of the performer. This is in turn shaped by a construction of tubes to be tuned to various scales. In this way the performer “sings” without making any sounds by his/her own vocal chords. The instrument investigates language, communication and learning processes.
(photo by Bit20)

Espen Sommer Eide (1972) is a musician and artist based in Bergen, Norway. His artworks investigates subjects ranging from the linguistic, the historical and archival to the invention of new scientific and musical instruments for performative fieldwork. He has been a prominent representative of experimental electronic music from Norway, with main projects Alog and Phonophani, and a string of releases on the label Rune Grammofon.

His works has been exhibited and performed at Bergen Kunsthall, Nikolaj Kunsthal, Manifesta Biennial, Henie Onstad kunstsenter, Stedelijk Museum, De Halle Haarlem, Sonic Acts, Mutek festival, GRM/Presences Électronique, Performa Festival, Museo Reina Sofia and more. 

Composer Kari Telstad Sundet describe her project with these words:
‹‹We do not hear only with our ears, sound is so much more than what the impulses the inner ears cochlea can receive.
In this project I investigate what sound is and what it can be through deaf peoples competence in listening in other ways than the hearing. Through eyes and the body. My aim has been to create music through a sound library created together with deaf people. A library created through sound walks together with deaf people during one summer in Bergen. With the gathering and tuning of touch sensitive pads a new instrument has been created, which will present sounds of the city in new ways. My hope is together with hearing and non hearing compose and play music.›› Kari Telstad Sundet is a composer examined from The Grieg Academy in 2016.

Trond Lossius will compose a work for the Within instruments to be performed Friday, September 30th. The work will be developed on site and explore the particular affordances of the instruments, as well as the issues of hearing and deafness that underpins the project. It will also reflect on discrepancies between the ability to hear and a widespread lack of attention and awareness towards our sound surroundings.

End of Oil and the film Oilers is created by Massimiliano Mollona and Anne Marthe Dyvi. The project startet after they met in 2014 and begun the conversation about oil, economy, and contemporary state of both. With the crossing perspective of the global and the local. The conversation turned in to a project that will be exhibited at Hagerupgården.
A question often asked is, how is the outlook for the oil industry or the economy? In the film, Oilers they followed the year of 2015 from the workers point of view, by filming their tasks of puzzling together an oil platform with skilled hands. Foreign and Norwegian workers create together huge constructions that will be pulled out in the ocean to suck up the oil from beneath.

They have with the camera tried to capture the visual alphabet of work and economy on the west coast of Norway.
In 2015 about 30.000 jobs in the oil industry disappeared in Norway. Every film is an attempt to see what no longer is.

The film is captured at Kværner Stord.

Massimiliano (Mao) Mollona is a writer, filmmaker and anthropologist. He has a multidisciplinary background in economics and anthropology and his work focuses on the relationships between art and political economy. He conducted extensive fieldworks in Italy, UK, Norway and Brazil, mainly in economic institutions, looking at the relationships between economic development and political identity through participatory and experimental film projects. His practice is situated at the intersection of pedagogy, art and activism. He is a part of the collective freethought, curators for Bergen Assembly.

Anne Marthe Dyvi (born 1979) is an artist educated and based in Bergen with an MA in fine arts from Bergen Academy of Art and Design, 2010. In addition to her own practice as an artist, she is a part of the artist group Ytter, and works as artistic developer at Bergen Center for Electronic Arts. She works with different mediums; video, sculpture, text, sound, performance and installation, not faithful to any of them. Her work has been shown in several parts of Norway and Sweden, Italy,  Slovakia, England, Germany, Estonia, Iceland and Lithuania. She was part of the resource group developing a national archive for video arts in Norway for the Arts Council. She writes and lecture about art on a freelance basis.

Time and place:
  • Bergen Assembly - 01/09/2016 to 02/10/2016

Gitte Sætre - Magic of Seven at 3,14

Fri, 08/19/2016 - 11:14

The multi channel video installation Magic of Seven depicts collective exercises involving seven women, juxtaposed with archival material from various wars that unfold. The exhibition opens at Gallery 3,14 on Friday 19th August. The video work is edited at BEK, and Stian Remvik has contributed with screen syncronization and sound-to-light programming.

Magic of Seven is a new installation, commissioned by 3,14 and co-produced by BEK. This seven-channel video installation depicts collective exercises involving seven women, juxtaposed with archival material from various wars that unfold. Sætre explores the interaction between collective patterns and individual human actions. The understanding of causality, cause and effect, is a requisite in order to understand war and other major challenges we account, says Sætre. Art can undertake a role in which it challenges the social order and dogma. This is reflected in Sætre’s projects, for instance, her performative practices have even mobilized into action.

One of Sætre’s intents when conceptualizing Magic of Seven is the inclusion of re-enchantment processes, as a form of restoration of what has been lost, in our otherwise so disenchanted and rationalized, western world. The work presents internal relations, in which intrinsic value and dreams are emphasized. The term disenchantment, by the German sociologist Max Weber, is attributed to a process that has made the world more prosaic and predictable, and less poetic and secretive.

Gitte Sætre is a multidisciplinary artist, working with dialogue based art, performance, photography, video and sound. Her work has been presented in several venues, such as Bomuldsfabrikken, Oslo Kunstforening; House of Foundation as collateral program of Kochi Biennale, India; Media Impact, Moscow; Artic Artforum, Arkhangelsk; Komunitas Salihara, Jakarta; Kongernes Lapidarium, Copenhagen; XX1 Gallery, Warsaw; Pristine Galerie, Mexico.

Time and place:
  • 3,14 - 19/08/2016 to 16/10/2016

Art at Øyafestivalen in Oslo

Thu, 08/11/2016 - 14:59

Espen Sommer Eide is exhibiting his sound work "The Distribution Of The Audible” at Øyafestivalen from the 9th-13th of August. The work consist of approximately 30 sound clips recorded all over the world and played through old horn speakers at the festival.

“Lydsporene og høyttalerne er hentet fra hele verden. På det nyeste opptaket kan vi høre en kakofoni av hornsignaler fra båter i Bosporos-stredet som feirer President Erdoğans seier etter sommerens kuppforsøk. Opptaket er gjort på Prinsesseøyene utenfor Istanbul den 29. juli i sommer av den tyrkiske kunstneren Tolga Balci. Verket alluderer til propaganda, politikk og lydens rolle i det offentlige rom.

På Øya blander lyden fra installasjonen seg med lyden fra konsertene. Verket er lavmælt, men rikt, og den nysgjerrige og observante lytter vil kunne oppleve et politisk ladet lydbilde i stadig endring.

Espen Sommer Eide (født 1972) er opprinnelig fra Tromsø, men bor og jobber i Bergen. Han er utdannet filosof og jobber som kunstner, instrumentmaker og musiker. Sommer Eide er kjent under artistnavnet Phonophani og er den ene halvdel av duoen Alog, som har gitt ut en rekke plater på Rune Grammofon. Espen har vist egne verk på Manifesta-biennalen, Henie-Onstad Kunstsenter, Stedelijk Museum i Amsterdams, Bergen Kunsthall / NO. 5 og på Nikolai Kunsthall i København. Han var også initiativtager og festivalsjef for den elektroniske musikkfestivalen Trollofon. Trollofon arrangerte konserter ombord på en trolleybuss i Bergen og bidro til at trolleybusslinje nr 2 fortsatt er i drift, som den eneste av sitt slag i Norge. De siste årene har Espen vært involvert i en rekke prosjekter i Barents-regionen og grenseområdene mellom Norge og Russland, blant annet permanente utsmykninger for Skoltesamisk museum i Neiden og ved Univeristetet i Tromsø, og “Dark Ecology” og “Rural Reading Room”, en serie med hendelser i Sør-Varanger. Eide er medlem i Verdensteatret, hvor han bygger instrumenter, lager musikk og gjør lyddesign. Verdensteatret har vist sine forestillinger på bl.a. Shanghai biennalen, Exit festival Paris, BAM New York og har vunnet en rekke priser.

Time and place:
  • Øyafestivalen, Oslo - 09/08/2016 to 14/08/2016

Kunst på Øyafestivalen

Thu, 08/11/2016 - 14:59

Espen Sommer Eide stiller ut på Øyafestivalen fra 9-13.august.The Distribution Of The Audible” er et lydverk der et tredvetalls lydspor spilles over gamle hornhøyttalere montert i tårn mellom Munchløkka og Vindfruen.

“Lydsporene og høyttalerne er hentet fra hele verden. På det nyeste opptaket kan vi høre en kakofoni av hornsignaler fra båter i Bosporos-stredet som feirer President Erdoğans seier etter sommerens kuppforsøk. Opptaket er gjort på Prinsesseøyene utenfor Istanbul den 29. juli i sommer av den tyrkiske kunstneren Tolga Balci. Verket alluderer til propaganda, politikk og lydens rolle i det offentlige rom.

På Øya blander lyden fra installasjonen seg med lyden fra konsertene. Verket er lavmælt, men rikt, og den nysgjerrige og observante lytter vil kunne oppleve et politisk ladet lydbilde i stadig endring.

Espen Sommer Eide (født 1972) er opprinnelig fra Tromsø, men bor og jobber i Bergen. Han er utdannet filosof og jobber som kunstner, instrumentmaker og musiker. Sommer Eide er kjent under artistnavnet Phonophani og er den ene halvdel av duoen Alog, som har gitt ut en rekke plater på Rune Grammofon. Espen har vist egne verk på Manifesta-biennalen, Henie-Onstad Kunstsenter, Stedelijk Museum i Amsterdams, Bergen Kunsthall / NO. 5 og på Nikolai Kunsthall i København. Han var også initiativtager og festivalsjef for den elektroniske musikkfestivalen Trollofon. Trollofon arrangerte konserter ombord på en trolleybuss i Bergen og bidro til at trolleybusslinje nr 2 fortsatt er i drift, som den eneste av sitt slag i Norge. De siste årene har Espen vært involvert i en rekke prosjekter i Barents-regionen og grenseområdene mellom Norge og Russland, blant annet permanente utsmykninger for Skoltesamisk museum i Neiden og ved Univeristetet i Tromsø, og “Dark Ecology” og “Rural Reading Room”, en serie med hendelser i Sør-Varanger. Eide er medlem i Verdensteatret, hvor han bygger instrumenter, lager musikk og gjør lyddesign. Verdensteatret har vist sine forestillinger på bl.a. Shanghai biennalen, Exit festival Paris, BAM New York og har vunnet en rekke priser.

Time and place:
  • Øyafestivalen, Oslo - 09/08/2016 to 14/08/2016

<p>

Thu, 08/11/2016 - 14:59

Time and place:
  • Øyafestivalen, Oslo - 09/08/2016 to 14/08/2016

Bergen Assembly 2016: September programme launch

Mon, 08/01/2016 - 17:33

Bergen Assembly 2016
September 1–October 1, 2016

Opening weekend: September 1–4

bergenassembly.no

Venues: Bergen City Hall, Bergen Kino, Konsertpaleet, KP10; Bergen Kunsthall; Entrée; Bergen Gamle Hovedbrannstasjon; Hagerupsgården; Kunstgarasjen; Sentralbadet; St. Jørgen’s Shelter; USF Verftet

The 2016 edition of Bergen Assembly offers three distinct propositions by artistic directors Tarek Atoui, freethought and PRAXES. The September programme of events launches with an opening weekend (September 1–4) of exhibition openings, screenings and performances, as well as freethought’s Infrastructure Summit.​

freethought
Formed in 2011 by Irit Rogoff, Stefano Harney, Adrian Heathfield, Massimiliano Mollona, Louis Moreno and Nora Sternfeld, freethought is a collective working in public research and in curating concepts of political urgency. For Bergen Assembly 2016, freethought are working collaboratively with invited curators, artists, researchers and educators including Vali Mahlouji, Mike Berlin, Isa Rosenberger, Phil Collins, Anne Marthe Dyvi, Ranjit Kandalgaonkar, Arjuna Neuman, Paul Purgas, Hugo Glendinning and Wu Tsang. Focusing on infrastructure in a large-scale investigation that has so far included public seminars, guest lectures and artist projects in Bergen, the work now culminates in a programme of installations, discursive platforms and artistic commissions.

For the opening weekend of the September programme, freethought present The Infrastructure Summit, a two-day discursive event complemented by food, film, performance and music with renowned writers, curators and artists investigating the nature of infrastructure in times of economic disparity, ecological catastrophe, expulsion and forced migration. The Summit runs concurrently with other projects, screenings and installations, as well as the ongoing events programme at The Partisan Café.

PRAXES
Within Bergen Assembly 2016, PRAXES is episodically inhabiting different venues around Bergen with a year-long programme centering on the unassociated artistic practices of Lynda Benglis and Marvin Gaye Chetwynd. Running from February to December 2016, this experiment is the second chapter of PRAXES, co-founded in 2013 by Rhea Dall and Kristine Siegel in Berlin.

Tracing ideas of suspended fluidity and mushrooming masses, the group exhibition Adhesive Products opening at Bergen Kunsthall in September presents works by Lynda Benglis, Nairy Baghramian, Olga Balema, Daiga Grantina, Sterling Ruby, and Kaari Upson, accompanied by lectures by Dieter Roelstraete and Judith Tannenbaum. Simultaneously, On Screen, focusing on three of Benglis’s iconic video works from 1973, is on display at Entrée.

The second part of a new commission, Marvin Gaye Chetwynd’s The Cell Group (Episode Two) on September 2–3 is a live act in a former bomb shelter, thriving on telepathic conversations for a paranoid age, while the exhibition Cocaine & Caviar at Kunstgarasjen speculates on long-term connections in Chetwynd’s film work and performance-related objects. Additionally, an ever-larger number of the artist’s Bat Opera paintings accumulate in Bergen City Hall.

Tarek Atoui
The musician and sound artist develops WITHIN, a project initiated in 2008, drawing on conversations with teachers and students from the Al Amal School for Deaf Students in Sharjah City and in collaboration with Paris-based curators Grégory Castéra and Sandra Terdjman (Council).

In a series of public rehearsals, performances and sonic experiments, composers and musicians will activate new musical instruments. Councils’ exhibition Infinite Ear expands on the project’s years of research into the transformations of hearing and how deafness can influence and expand the way we understand sound performance, its space and instrumentation.

Composition and performance: BIT20 Ensemble, André Bratten, Espen Sommer Eide, DJ Jade, Myriam Lefkovitz and Valentina Desideri, Trond Lossius, Pauline Oliveros and lone, Alwynne Pritchard, Gerhard Staebler Instruments: Daniel Araya (Electronic Music Studio Stockholm), Johannes Goebel, Mitchell Karchemsky, Mats Lindström (Electronic Music Studio Stockholm), Jeff Lubow (CNMAT), Thierry Madiot, Perrin Meyer (Meyer Sound), Greg Niemeyer (Berkeley Center for New Media), Julia Al Sarraf, Kari Sundet Sound recordings: Eric La Casa, Chris Chafe, Morten Norbye Halvorsen, Carl Michael von Hausswolff, Jacob Kirkegaard, LIGO, Thomas Lilly, Gareth Lee Patterson Mathieu Saladin, Minoru Sato, Chris Watson Works: Robert Ashlay, Douwe Jan Bakker, Maria Barnas, Antonia Carrara, Andrew Fisher, Aurelien Gamboni and Sandrine Teixido, Dora Garcia, Joseph Grigely, Alexandre Guirkinger, Lawrence Abu Hamdan, Christian Marclay, Alison O’Daniel, Baudouin Oosterlynck, Simon Ripoll-Hurier Scenography: conceived with BAS Students, advised by Jeffrey Mansfield.

For a complete list of collaborators and venues, please visit the website.

Contact:
Victoria Trunova
Head of Communications
T +47 906 22589 / victoria@bergenassembly.no

The Atmospherics 5: Stop, Hey, Watch That Sound

Mon, 08/01/2016 - 16:01

The audio-visual installation “The Atmospherics 5: Stop, Hey, Watch That Sound” by Trond Lossius and Jeremy Welsh is exhibited in the “Høgsalen” project space at Sogn og Fjordane Art Museum in Førde.

During the opening of the exhibition Bergen Barokk enters into an improvisational dialogue with the installation.

Improvised music performance by Bergen Barokk during the opening of the installation June 18th. 2016.

The Atmospherics (River Deep, Mountain High) is an ongoing collaborative project by Trond Lossius and Jeremy Welsh, begun in 2014 and continuing through 2017. The project further developed our interest and research into notions of “place”, explored here through field recording in sound and video. The material collected on field trips is processed and edited in order to realise large-scale (and sometimes smaller scale) audio-visual installations in which aspects and elements of different locations are combined to produce a particular temporary place that refers to, but does not literally represent, actual places that have been visited and documented.

The material collected often exploits contrasts – for example between industrial structures and the natural landscape, between motion and stillness, sound and silence, light and dark, etc. Much of the imagery used so far has come from a West Norwegian landscape that is well known from the work of 19th. century national romantic painters, and a question or challenge in the project has been – how to see these landscapes from a 21st. century perspective? How to capture certain qualities of the visual and auditive identities of these places, and then use these as raw material to compose something new?
Processes of abstraction and filtering allow the material to be transformed. Editing and montage de- and re-contextualise the images and sounds. Multiple viewpoints within an installation, and the use of surround sound enable the construction of an immersive environment that invites the viewer to interact with the material through their own perceptions, memories and emotional responses.

Each installation is developed specifically in response to the exhibition location in which it will be presented, and to that extent, the works have an aspect of site-specificity. The architectural and acoustic qualities of the installation space form the basis for the construction of each iteration of the project, and material to be used is edited, modified and mixed in situ, so that each time the work is exhibited it takes on new aspects.
Furthermore, the video and audio material used in the installation has often (though not always) been related to the broader environment in which the exhibiting venue is situated, so that local references will trigger particular responses in visitors. Conversely, when the work is shown at a location remote from the sources of material, both in terms of distance, cultural references and familiarity, then it takes on other qualities which rely precisely upon the viewer’s lack of familiarity with the material they encounter.

The Atmospherics grew out of earlier projects that Lossius and Welsh have worked on separately and together. Questions of place, site, space, the mediation of these through audiovisual media, the role of memory in understanding particularities of place and space, have underscored many of the projects they have been engaged in since the early 2000’s. In particular, the art research project Re:Place that was developed in collaboration between Bergen Academy of Art and Design, the Oslo National Academy of the Arts and The Grieg Academy, Bergen, between 2012 – 2013, was a crucial reference point and background to the current project. Many of the core methods used in The Atmospherics were developed and discussed within the framework of Re:Place.

The first work that was completed in the series was a short digital film made as a memorial to former colleague, composer Morten Eide Pedersen (1958 – 2014) who was also a participant and partner in the research project Re:place.

Supported by Arts Council Norway, The Municipality of Bergen, Billedkunstnernes Vederlagsfond, The Municipality of Trondheim and BEK.

Time and place:
  • Sogn og Fjordane Kunstmuseum - 18/06/2016 to 09/10/2016

Shades of Change

Mon, 08/01/2016 - 15:22

Ingeborg Annie Lindahl – Trond Lossius

The exhibition at Stiftelsen 3,14 combines a 32 meter mural chalk drawing and 12 channel surround sound into an immersive installation. Drawings and sound are developed on site over five hectic days in front of the opening. Lindahls chalk-drawing continues to evolve throughout the exhibition period, and as the exhibition period comes to an end, the drawing end in destruction.

This collaborative project investigate possibilities for a cross-disciplinary audio-visual dialogue between large scale drawings and sound. On a conceptual level the installation reflects on the changing climate reality.

 

Panorama shot while installing.

 

Ingeborg Annie Lindahl is an interdisciplinary artist and curator living in Harstad, Norway. Lindahl is educated from Tromsø Academy of Contemporary art and Bergen National Academy of the Arts. She was the winner of VossaJazz-grant with a solo exhibition and received the Per Spilling prize, both in 2013. This year Lindahl was the main exhibitor at ILIOS festival. Her work is widely exhibited nationally and abroad, among others by HardingarT, Trafo Kunsthall, Salihara Gallery Jakarta, Bergen Kunsthall, Den frie udstilling Copenhagen, Galleri Box, Vilnius Titanikas exhibition space, Ariblå Sortland Kunstforening, Bodø Kunstforening, Verk Hammerfest and Tromsø Kunstforening.

Lindahl’s artistic method combines the outcome from field trips and personal experience of the place.When Lindahl started working with chalk, she was drawn by impermanence and thoughts for expulsion.She has used chalk in several different shapes; as marble, plaster and pigment, playing with the idea of mankind as a early stage of becoming mineral. Her material substantiates a manifestation of change, both in how knowledge is made and how nature is in a constant state of transformation. Lindahl is interested in the landscape of echoes in the sphere of human thought, and explore culture and value in our time in relation to nature.

Trond Lossius is a sound and installation artist living in Bergen, Norway. His projects investigate sound, place and space, using sound spatialisation and multichannel audio as an invisible and temporal sculptural medium in works engaging with the site. He often collaborates with other artists on cross-disciplinary projects, in particular sound installations and works for stage. In collaboration with Jon Arne Mogstad and Jeremy Welsh, he has done a series of installations combining paintings, video, prints, and sound. He has contributed to several productions with the contemporary performance group Verdensteatret, winner of New York Dance and Performance Awards a.k.a. The Bessies 2005-2006 in the Installation & New Media category.

He holds a master degree in geophysics, studied music at The Grieg Academy, and has been a research fellow in the arts at Bergen National Academy of the Arts. He is research and development coordinator at BEK – Bergen Center for Electronic Arts, and contributes to development of software for audio and media processing. He was Norwegian delegate to the European COST action on sonic interaction design 2008-2011. 2012-2013 he was engaged as full professor at Bergen Academy of Art and Design coordinating the artistic research project Re:place.

 

1-1 are short interceptions in the exhibition program at 3,14, establishing a dialogue between two artists, with at least one of them being based in Bergen.

BEK supports the exhibition with equipment.

Time and place:
  • Stiftelsen 3,14 - 29/07/2016 to 07/08/2016

Interactive Installation M-Machine at Hiroshima International Animation Festival Japan

Sun, 07/31/2016 - 20:02

Marieke Verbiesen will travel to the Hiroshima International Film Festival between 18th and 22nd of August to present her interactive installation M-Machine to the Japanese audience.

M-Machine allows for its audience to interact not only musically but visually as well. “It functions like a musical instrument, but instead of just steering sound, you steer animation as well, and the machine lets you be a composer,”

Marieke Verbiesen has been invited by the Hiroshima International Animation Film Festival to present her interactive installation “M-Machine”. “M-Machine” is an audiovisual instrument that can be controlled by the user and combines various diffrent technologies in one.

Verbiesen wants people to be able to create “mayhem” through a series of knobs, dials, and buttons that activate animations onscreen with accompanying sounds. Some of these parts require more than just pushing a button, such as the bit-crusher voice sampler and the bad guitar solo joystick. Another interesting facet of the Mayhem Machine is the noise generating finger pad. The functionality of the Mayhem Machine is discovered through playing and trying out all of the tools available to the player.

In Mayhem Machine, Sound, Interaction and Animation create a symbiotic relationship and meaning.
The animations and sounds create different stories by showing in non linear sequences which the audience controls in a playful manner.

The animations are based on animation principles stemming from Golden Age Cartoons, at the turn of the century.
Golden Age Cartoons, created the meaning “Language of Vision”, the cohesion between cartoon motion and sound; Striving for a symbiotic image and sound experience in which animation could allocate itself a new function in which animations could be created and experienced as a dynamic experience instead of a linear experience.

The International Animation Festival Hiroshima is a biannual animation festival hosted in Hiroshima, Japan. The festival was found in 1985 by Association International du Film d’Animation or ASIFA as International Animation Festival for the World Peace. The city of Hiroshima was one of the sights of nuclear bombings in 1945 at the end of World War II and it was chosen to inspire thoughts of unity through the arts. The festival is now considered one of the most respected animated festivals, along with Annecy International Animated Film Festival, Ottawa International Animation Festival, and Zagreb World Festival of Animated Films.

Hiroshima International Animation Film Festival: http://hiroanim.org/en2016/

Time and place:
  • hiroshima international animation festival - 18/08/2016 to 22/08/2016

Ambisonic Toolkit for Reaper 1.0.0.b9

Sun, 07/24/2016 - 22:25

ATK for Reaper v.1.0.0.b9 is now available. Some key changes:

- Binaural decoders at all sample rates
- New encoders and decoders for bridging between FuMa and AmbiX (useful for VR authoring)

And two changes that breaks backwards compatibility:

- Azimuth is now positive in counter-clockwise direction
- Quad decoder now has 4 channels out only

For more info and download:

http://www.ambisonictoolkit.net/publications/2016/07/24/atk-reaper-1.0.0b9.html

BEK at NIME 2016

Wed, 07/13/2016 - 22:37

Marieke Verbiesen will travel to NIME 2016 – New Interfaces for Musical Expression 2016 to present BEK, projects we have worked with, and her own project Mayhem Machine, in Brisbane, Australia.

New Interfaces for Musical Expression, also known as NIME, is an international conference dedicated to scientific research on the development of new technologies and their role in musical expression and artistic performance. Researchers and musicians from all over the world gather to share their knowledge and late-breaking work on new musical interface design.

NIME 2016 is taking place at Griffith University Conservatorium in Brisbane, Australia.
Marieke Verbiesen will present BEK and the projects we have been working with as well as her experimental interface “Mayhem Machine” an instruments that blends together sound, image and animations and offers experimental tools to inlfuence the compositions made with the machine.

https://vimeo.com/131047926

Time and place:
  • griffith - 13/07/2016 to 18/07/2016

New video work by Magnhild Øen Nordahl

Mon, 07/04/2016 - 13:39

In her solo exhibition “Standard Primitives”, Magnhild Øen Nordahl presents three new works made especially for this exhibition at Hordaland kunstsenter: A sculpture series, an animation film and a video work. Filming and editing is supported by BEK.

In the video work The Distance to the Horizon, we find ourselves at sea, with only waves and the horizon in sight. The work documents traveling from a given point at sea, all the way to the point one initially could see as the horizon.

Is it possible to experience the roundness of the earth, to sense it through our corporeal perception and ability of movement? Could you get closer to understanding taught theory and cosmic proportions through the use of tools in your hands?

More info from HKS

Time and place:
  • HKS - 10/06/2016 to 15/08/2016

Static Theatre - Those That Have Been Left Behind

Mon, 07/04/2016 - 13:26

The performance Those that have been left behind will be shown at the Penghao Theater in Beijing as part of the avant-garde theatre festival Beijing NLGX Art Festival on July 9 and 10. BEK is co-producer of the performance.

Static theatre challenges the essential role of actor and actions in the performance and the constant time flow as a convention in the performance. It explores the interference between visual art and theatre, at the meantime, carefully examines the boundary between a performance and exhibition to seek the performance’s essences as a live art.

The concept of static theatre was initiated by Jingyi Wang in 2014, and the first performance Those that have been left behind was successfully realised on May 3rd, 2015 in Studio USF, Bergen. It was produced by BIT-Teatergarasjen and BEK, and supported by Art Council Norway and Bergen Kommune.

Time and place:
  • Penghao Theater - 09/07/2016 to 10/07/2016

Line Horneland: The sound in-between

Mon, 06/27/2016 - 08:37

“Lyden i mellomrommet” (The sound in-between) is the master thesis by Line Horneland, completed at Stord/Haugesund University College in the spring 2016. The text is a critical reflection on various aspects of artistic development relating to the interactive vocal installation “Lyden i mellomrommet”. The installation was open to public at Sola ruinkirke January 2016.

Main supervisor has been Magne Ingolv Espeland, and Trond Lossius at BEK has been assistant supervisor.


Lyden i mellomrommet / The sound in-between from Line Horneland on Vimeo.

http://www.linehorneland.no/

Last ned teksten her (111 Mb)

Sammendrag

Denne teksten er en kritisk refleksjon over ulike aspekter ved et kunstnerisk utviklingsarbeid, den interaktive vokalinstallasjonen ”Lyden i mellomrommet”. Installasjonen var åpen for publikum i Sola ruinkirke 14.-17. januar 2016. Prosjektet bygger på en produksjon der vokale lydlandskap, spatialitet og lytteopplevelse sammen danner en helhet, der lytteren utløser vokale komposisjoner ved å trø på sensorer, og musikken høres gjennom høyttalere. Lytteren blir en musikalsk medskaper og spiller en avgjørende rolle for uttrykk og opplevelse. Konseptuelt tematiserer prosjektet rom og lyd i en kunstnerisk kontekst, som erfaringssted for en lytters prerefleksive opplevelser. ’Mellomrommet’ utgjør en sentral metafor, og gjennom refleksjonsbilder ser jeg på det som grunntone, konsept, prosess, og resultat, samt erfaring og læring. Til grunn for teksten ligger følgende problemstilling: Hvordan kan prosessene i den kunstneriske produksjonen ”Lyden i mellomrommet” belyses, der loop som kompositorisk virkemiddel, spatialitet og interaksjonsdesign søker å gi rom for lytteopplevelsens ’sensuous knowledge’?

Jeg plasserer prosjektet mitt innen rammen av ’kunstnerisk utviklingsarbeid’ eller ’artistic research’ (Borgdorff, 2009). ’Sensuous knowledge’ er forbundet med lytterens opplevelse, og Kjørup (2006) er referansen min i denne konteksten. Et fenomenologisk perspektiv gjør seg gjeldende gjennom teksten. I gjennomgangen av komposisjonsprosessen har Kruse (2011) vært en sentral referanse, ikke minst på grunn av det tverrkunstneriske fokusets relevans for mine tanker rundt ’mellomrommet’. Når det gjelder interaksjonsdesign refererer jeg til Franinović og Serafin (2013). Metodisk beveger jeg meg mellom metode i tradisjonell forstand, metode i kunstnerisk utviklingsarbeid, og refleksjon over metode og kunstneriske prosesser. Dokumentasjon har foregått ved prosjektlogg, foto, videoopptak og lydfiler. Komposisjonene er utviklet blant annet gjennom improvisasjon og looping av vokal i flere lag, samt redigering av lydfiler i Garageband. Interaksjonsdesign ved bruk av Max software og sensorer, samt den konseptuelle utforming av kirkerommet inngår i de kunstneriske metodene. Arbeidet med prosjektet er mangefasettert, og har vært en vandring frem og tilbake mellom ulike felt og måter å jobbe på. Min kreative prosess i dette prosjektet har på mange måter vært en kunstnerisk mellomromstilværelse, noe jeg reflekterer over om det er rom for i andre sammenhenger, ikke minst pedagogisk.

Time and place:
  • Høgskolen Stord/Haugesund - 15/06/2016 to 15/07/2016