Bergen Center for Electronic Arts
Uninet has planned upgrades to network routers, and the network in and out of BEK (including BEK servers) might be down for 20 minutes Wednesday December 7, 2016 between 21:00 and 23.59 CET.
Hollow Scenes is the second release from Norwegian electronic producer Klunks. The record was made at BEK, and is released at the Seattle label Hush Hush Records.
‘Hollow Scenes’ marks the sophomore release from Norwegian electronic producer Klunks and serves as a follow-up to his 2015 debut release ‘Elastic Forest.’ Exploring a vast and unpredictable sound spectrum over 11 diverse tracks, ‘Hollow Scenes’ once again showcases Klunks’ elaborately detailed and impressively intricate sonic aesthetic. Led by an affinity for acousmatic contemplations, designed specifically for intimate headphone sessions, the album features precisely deconstructed found sounds perfectly spliced through a maze of manipulated instrumentation, shards of vocal samples, lush atmospherics, and cerebral drum work. The spacious leftfield downtempo vibes of ‘Elastic Forest’ are still present, yet ‘Hollow Scenes’ is wonderfully enhanced by an experimental jazz streak, with robust saxophones lines frequently soaring triumphantly above the enveloping backdrops. At times agitated and chaotic, but also deeply embedded in sensitive sonic gesticulation and engaging electronic improvisation, ‘Hollow Scenes’ is an intoxicating evolution in Klunks’ unraveling sonic vision, yielding an immediately thrilling listening experience that offers deep rewards upon multiple listens.Time and place:
- Hush Hush Records - 18/11/2016 to 28/11/2016
The sound artist and composer Bethan Kellough is currently artist in residency at USF Verftet. This talk is an informal opportunity to meet with her. She’ll talk about her artistic work, and present excerpts from some of her works. The residency is hosted by USF Verftet and supported in various ways by BEK, Lydgalleriet, Ekko and NOTAM in Oslo.
Bethan Kellough (formerly Bethan Parkes) is a sound artist and composer. Her work spans across ambisonic composition, field recording, sound design and multichannel sound installation practices, drawing a focus on sonic spatial experience. Her works are designed to open out spaces with sound, exploring spatial aesthetics and the interactions between sonically and visually articulated spaces. The immersive sound-worlds she creates inhabit the boundaries between music and sound design, weaving together instrumental materials, sound design and ambisonic field recordings.
She holds a PhD in Sonic Arts from the University of Glasgow. In 2015 she joined the Touch Mentorship Programme, and this fall her EP “Aven” was released on Touch.
Her works have been exhibited and performed internationally, including at Touch Conference, Los Angeles, USA; Gallery of Russian Art and Design, London, UK; Resonant Forms Festival, Los Angeles, USA; Borealis Festival, Bergen, Norway; Jardins Efemeros Festival, Viseu, Portugal; Spazio Bocciofila, Venice, Italy; The Global Composition International Conference, Dieburg, Germany; Symposium on Acoustic Ecology, University of Kent, UK; Sound Thought Festival, Glasgow, UK. Bethan’s
works have been presented in Bergen as part of the Muli surround sound convert series at Østre, first during Borealis 2015, and recently as part of the Ekko Festival.
Photos by Robert Kellough and Bethan Kellough.
Time and place:
Bethan Kellough’s studio at USF Verftet
Friday November 25 at 2-4 pm
(Meet up at the entrance by the large clock)
- USF Verftet - 25/11/2016 14:00
Using a series of virtual images, platforms, passive and active work of art, the audience in this performance gets the opportunity to explore physical and virtual presence. The performance is also displayed in two “rooms”, namely a classic black box, a theater, and a white cube, a gallery, where the audience itself determines its time and location in front of the work.
BEK has been advisory in developing the project and has set up the audio playback system.
The ancient spiritual experience of being somewhere other than where you are, and the feeling of not being present in what you do, has got a technological reality, warping and challenge in the internet. Internet can be said to offer increased integration and increased isolation. In the performance, different contrasts are set up, like the one between physical and virtual presence, but also between different cultural realities.
Jingyi Wang’s first performance was presented in spring 2015 as a part of BIT Teatergarasjen’s Intro series where local artists present suggestions for scenic projects for the future of the performing arts. The performance Static Theatre: Those That Have Been Left Behind dealt with how the people and places we have left behind still affect our lives, and presented static theatre as a concept: a mixture of the surfaces in visual art and theatre’s play with time. The performance was recently invited to be part of the Nanluguxiang Performing Arts festival in Jingy’s birthplace Beijing.
Direction, curation and text: Jingyi Wang. Stage- og light design: Leo Preston. Video art and and film editing: Yafei Qi. Live camera: Elias Björn. Programming: Robert Fohlin. With art works by: Håkon Holm Olsen, Helene Norseth, Nina Bang Larsen, Lona Hansen, Gabriel Johann Kvendseth, Sarah Jost, Lasse Årikstad og Egil Paulsen.
Co-produced by BEK in collaboration with BIT Teatergarasjen, Stiftelsen 3,14 and Wrap.Time and place:
- Stiftelsen 3,14 - 17/11/2016 to 11/12/2016
Syntagma Metonymy [Greece, 5. – 11. January, 2016] consists of a comprehensive, multi-media installation that spreads over both exhibition rooms at Tag Team. The sound recordings from the Syntagma Square is edited at and produced with advice from BEK. The audio and video installation is set up with help from BEK and with BEK speakers and monitors.
The seductive, basic geometric shapes we know from many of Rudjord Unneland’s later works dominate the visual expression also here. This time, however, it is architecture that provides the framework for his work. Large circular shapes are painted directly on the gallery walls, and a square of plaster and wood, which actually exceeds the room capacity, is pressed over the floors. Speakers are integrated into the floor structure, and play the sound of recordings from the Syntagma Square in Athens. Along with Vermehren Holm’s lines of text that rolls across the green screens, and Wildhagen’s characteristic travel drawings, the soundtracks helps to a careful shift in the viewer’s focus: in the middle of the aesthetic and sensual experience, we are made aware of the reality that exists outside the exhibition space.
Ordet syntagme kommer av gresk syntagma (’det sammenstilte’), avledn. av tassein (‘ordne, plassere’). Metonymi er en stilfigur, hvor man erstatter et uttrykk med et annet fra samme generelle betydningsområde. I motsetning til metaforen, legger metonymien som arbeidskategori opp til en oppsøkende praksis, fundert i nærheten mellom elementer fremfor likhet. Der er en konkret sammenheng i tid, sted eller årsak-virkning mellom metonymien og det den betegner, noe som skiller den fra metaforen eller symbolet.
Utstillingen Syntagma Metonymi er et resultat av en reise til Athen, som Rudjord Unneland, Wildhagen og Vermehren Holm foretok i januar 2016. Den viktigste årsaken til reisen var en felles overbevisning om nødvendigheten av å nærme seg bestemte hendelser og fenomener, som gjennom de siste årene har utspilt seg med Athen som symbolsk sentrum.
Sveinung Rudjord Unneland (1981) er en bergensbasert kunstner som har hatt en omfattende utstillingsvirksomhet i Norge helt siden han gikk ut fra Kunsthøgskolen i Bergen i 2007. Hans bakgrunn er i maleriet, men hans kunstneriske praksis strekker seg ofte mot det skulpturelle og installasjonen. Han har stilt ut blant annet på Kristiansand Kunsthall, Hordaland Kunstsenter, Galleri LNM, Kunstnerforbundet, Christianssands Kunstforening, Bergen Kunstmuseum, Lautom Contemporary, Høstutstillingen og Entrée.
Om Rudjord Unneland
Andreas Vermehren Holm (1988) er en dansk forfatter, oversetter og redaktør. I 2015 fikk han utgitt bøkene Palimpsest (Aviary Press Editions) og Antropocæn kreatur (H//O//F). Vermehren Holm har bidratt til bl.a. Den Engelske Kanal, Ny Jord og Vagant. Han er også tilknyttet Forfatterskolen. Driver til daglig til det københavnsbaserte Forlaget Virkelig, som blant annet. utgir skriftserien ’Bestiarium’.
Vermehren Holms hjemmeside
Aleksi Wildhagen (1976) er en norsk billedkunster med tegning, maleri og fotografi som tilbakevendende medium. Kunstprosjektene hans består ofte av reiser og stedsspesifikke tilnærminger. Wildhagen har utgitt en rekke kunstnerbøker og jobber både individuelt eller som del av kunstnergruppen -& Co eller Trommer og Tale. Han har stilt ut sine prosjekter ved blant annet Trøndelag senter for samtidskunst, Tidens krav, Lynx, Galleri LNM, Bomuldsfabrikken, Tegnebiennalen, Høstutstillingen og Spriten Kunsthall.
- Tag Team Studio - 11/11/2016 to 27/11/2016
We have a new colleague! We are happy to announce that Vilde Salhus Røed has accepted to fill the position as communication manager at BEK in a 20% position.
We have a new colleague! We are happy to announce that Vilde Salhus Røed has accepted to fill the position as communication manager at BEK in a 20% position. Many in the local art community knows her as head of BKFH and as an artist educated from Bergen National Academy of the Arts. We look forward to her expertly and artistic hand to be part of shaping the public face of BEK. http://www.vildesr.no
Photo: Sverre L. Hansen
- BEK - 10/11/2016 to 15/11/2016
GUISE is Benedicte Leinan Clementsen’s first solo exhibition, opening at Prosjektrom Normanns in Stavanger Friday 11th of November. She will show a 4-channel video installation, about how we relate to our pets. The work has been produced with BEK’s equipment and is set up in collaboration with Stian Remvik (BEK).
Benedicte Clementsen (b. Oslo, 1986) is an artist, based in Bergen, Norway. With performance as a starting point, her works manifest themselves as video, installation, photography and text. Her practice spans from self-initiatiated projects, commissions, collaborations and curating. Clementsen is currently undertaking the MA Art Praxis at DAI, Dutch Art Institute in the Netherlands as well as working for the artistic research project SYNSMASKINEN at KHiB.
PREVIEW Nov 11., 7 – 9 pm
Opening hours Nov 12. – 13. & 19. – 20., 12 – 3pm or by appointment.
Last day Dec 4.
“We talk to our pets. Endlessly. What for? To draw them nearer. We joke that we’re envious of them: Nothing on their minds. We joke that we wish we could read their minds. Do we think it would be a mirror? We imitate our pets, mirror them back: I see you. Do you see me?”
(Excerpt from the text that accompanies the exhibition, written by Nora Joung)
The project is funded by:
Arts Council Norway
- Prosjektrom Normanns - 11/11/2016 to 04/12/2016
This weekend BEK hosts a workshop where you can build your own unique DIY digital effect pedal based on the Raspberry PI computer and Csound.
On that occasion Utmark presents a concert, where you can experience how COSMO Collective use DIY electronics and custom software written in Csound!
Laura Cannell / COSMO Collective
13.november 2016 kl. 20.00
CC: 100,-/ 50,- (for members of nyMusikk and Borealis Listening Club).
Free for members of Bergen Kunsthall
Doors opens at 20:00
Concert starts at 20:30
LAURA CANNELL (UK) Laura Cannell’s music evokes a meditative sate through her flow of sound, created with traditional instruments such as the fiddle and the recorder. The music is steeped in medieval history, and geographically rooted in the East Anglia landscape. The soundscapes she creates are equally contemporary and innovative in her approach to the use of traditional instruments, as they are laden with a rich tradition of English folk.
COSMO COLLECTIVE (NO/DE) COSMO Collective is an open musical collaboration for musicians using DIY electronics and custom software written in Csound. There is no definite musical style, though it could be characterized as electroacoustic improvisation. The core of the group are Alex Hofmann (saxophone and electronics) and Bernt Isak Wærstad (guitar and electronics), who will be playing the Utmark concert, but a performance can consist of any number of players. COSMO Collective have performed several shows around the world, including New York, St. Petersburg, Boston, Brisbane, Berlin and Trondheim.
Les mer på facebookTime and place:
- Landmark - 13/11/2016 20:00
Søknad med CV sendes til soknad[at]notam02[.]no
Full søknadstekst finnes her
Nå er en stilling ledig som daglig leder i nyMusikk. Mer informasjon her. Søknadsfrist 9. november.
Earlier this year Sara Rajaei was in residency in Bergen, and commissioned to develop a new video work. The resulting work is now being screened at 3,14.
The residency was a collaboration between 3,14 and BEK, and happened as part of the CIRCULATING AiR program at 3,14.
In the gaze of Panoptes (2016)
Single channel video installation, color, sound, 20 min.
Over a period of nine years, BEK has been following the artistic ouvre of the Iranian born and Rotterdam based artist Sara Rajaei. Her work was first presented as part of a touring video screening program in 2007 as part of the “At Home in Europe” Curlutre Europe EU funded project that BEK was part of. In 2012 a first exhibition at 3,14 provided an introduction to Rajaei’s practice featuring, at that time, both early and recent works. For the second viewing, Rajaei presented exclusively new pieces. As the latest round, BEK and 3,14 are delighted to present the video In the gaze of Panoptes, developed and produced in Bergen under 3,14´s artist in residency program, Circulating AiR, in collaboration with BEK. Rajaei’s work is often grounded on the concept of time, memory and story telling. Rajaei studied at The Royal Academy of Art in The Hague and attended the two year residency program at Rijkakademie van Beeldende Kunsten, Amsterdam.
In Torborg Nedreaas’ Nothing grows by moonlight, the passing of time and the quality of light play important roles in the development of two parallel stories; meanwhile as the protagonist tells a life story within the safety of the walls of a stranger’s house, the narrator presents the reader a detailed description of the quality of light outside of that haven; evening light, the dark of the night and early morning… recreating the circumstances and the sounds which occur by the passage of time… As the morning light appears, the protagonist finishes the story and leaves…
In the gaze of Panoptes is a short film inspired by the book Nothing grows by moonlight both by its approach to storytelling but also by its light influence… In May 2016, fifteen Bergen based individuals from different parts of the world, were invited to take part in the project and to share their life journeys in exchange of a chapter of the book being read to them. The plot of In the gaze of Panoptes is a blend of all those destinies which cross but meet one another in certain moments…
Like the character in Nothing grows by moonlight, the protagonist of the film also deals with issues such as departure, arrival, home, identity and solitude… following a 7-year-old lucid dream… transforming from the cityman to the caveman, taking refuge in the nature… becoming the perfect observer of the light… the watchman… the giant with hundred eyes…
Curated by: Trond Lossius & Malin Barth
Supported by: KUP–Hordaland Fylkeskommune, Arts Council Norway, CBK Rotterdam, BEK and 3,14
Produced by: BEK and 3,14
[CIRCULATING AiR is a three-year KUP artist in residence project that traverses the county. It springs out of 3,14’s desire to contribute to innovation, collaboration and artistic engagement and competence throughout the cultural field and region. The initiative aims to develop venues and opportunities for artistic development with emphasis on the interaction between city and rural areas, local and international spheres, the professionals and the public. By direct invitation, 3,14 curates profiled international artists inclined to work site-specifically. The artists commit to developing site-related work during their stay, establishing a dialogue with the hosting community in various ways. At 3,14 we are now be proudly screening two separate projects developed under the program.]Time and place:
- Stiftelsen 3,14 - 28/10/2016 to 06/11/2016
Karen Eide Bøen and Roar Sletteland have created a dance performance for four turntables and a dancer, where they examine the relationship between body, sound, turntables and room. The Table Turns is about freedom and power on the dance floor. It’s about LPs, stored movement, solidified vibrations and sound that revived matter.
I Table Turns er danseren utstyrt med bevegelsessensorer og kontrollerer platespillerne ved hjelp av disse. Platespillerne er modifisert slik at hastigheten kan justeres trinnløst i begge retninger, og stiften flyttes mekanisk til ulike steder på platen. Utviklingen av systemet har foregått på BEK.
Danseren danser og spiller på en gang, noe som skaper en situasjon der musikken er resultat av bevegelsene. Paradoksalt nok medfører denne kontrollen et tap av frihet, en radikal innsnevring av bevegelses-mulighetene. Siden danseren er avhengig av å danse frem det hun skal danse til, vil dans og musikk skape og motarbeide hverandre i samme bevegelse. Ved å snu forbindelsen mellom lyd og bevegelse stiller forestillingen spørsmål om forholdet mellom individ og fellesskap, om maktforholdet mellom dans og musikk, og spenningen mellom dans som kunstform og dans som sosial aktivitet.
Konsept/dans: Karen Eide Bøen Konsept/elektronikk: Roar Sletteland Dramaturg: Gulli Sekse Scenografi: Apichaya Wanthiang Scenografisk assistent: Markus Moestue Lysdesign: Leo Preston Assistent lysdesign: Dominique Pollet Produsent: Gulli Sekse
Forestillingen er et prosjekt i BIT-Teatergarasjens Intro-serie.
Co-produsert av WRAP og BEK.
Støttet av: Norsk Kulturråd, Bergen Kommune og FFUKTime and place:
- HKS - 27/10/2016 to 28/10/2016
BIT Teatergarasjen and Carte Blanche need our support! Please read more and sign the petition here.
The petition is available in Norwegian and English.
Signatures will be forwarded to members of the Parliament, the Minister of Culture, and the Prime Minister.
Time and place:
- Sentralbadet - 26/10/2016 to 15/12/2016
The Italian writer and curator Leandro Pisano visits BEK, and will give a presentation on “The Third Soundscape”.
Leandro Pisano is the director of Interferenze New Arts Festival, and his projects and writings focus on new media, sound and technological arts. During the stay in Bergen he will also meet with a number of local sound artists.
The Third Soundscape
The creative re-discovery of exploration through sounds opens up new spaces for reflection on the processes of deep transformation occurring to territories and landscapes today. Sounds can help to decolonize our gaze and reveal geographies and spaces which are hidden in the surface of modernistic maps, falling apart the authorised combination of materials, unlocking the soundscape as an archive in which documents, voices, objects and silences are scattered.
Western culture has produced abandoned ruins and deterritorialised places and it is necessary to come to terms with these places out of place, interrogating their unknown and hidden stories, listening to them with the sense of anticipation that migrants have. So being present in the place and its world means to experiment a different gaze on the neighbouring space, a slow gaze that goes along with an intimate journey corresponding to calling into question of oneself.
This presentation will examine some concrete practices developed during a series of projects (Interferenze New Arts Festival, Liminaria, Calitri Temporary Orchestra, Barsento Mediascape) aiming at the exploration of abandoned and rural places through sound. It will focus on how these practices can open up rare aesthetic spaces, creating a different sense of place that has more to do with experience: sonic explorations of place as a social and political construction. All of the works developed during these projects demonstrate how much sound art and field recording practice take us deep into the layers of image and language in order to “transmit[s] a powerful sense of spatiality, atmosphere and timing” as Peter Cusack puts it.Bio
Leandro Pisano is a writer and curator for projects and events focused on new media, sound and technological arts. He holds a PhD in Cultural and Postcolonial studies at University of Naples “L’Orientale”, being also the director of Interferenze New Arts Festival. He gave presentations, conferences and workshops during events related with sound, new media aesthetics, design and sustainability in Argentina, Brazil, Chile, China, Colombia, Korea, Japan, India, Iceland, Peru, Uruguay, US, Germany, Finland, Portugal, Sweden, Turkey and UK. He is journalist, being contributor for Blow-Up magazine and has contributed to Corriere della Sera, Doppiozero and Neural.
His research focuses on a series of themes involving sound through different aesthetics declinations (sound art, radio art, soundscape) and a culturalist perspective engaging different disciplines (geography, anthropology, sociology, philosophy, literature) and conceptual approaches (postcolonial, postdigital). This approach delves into new geographies of sound, as they are emerging from the reconfiguration of territory related with the postdigital and postglobal milieu in which we are immersed.
Leandro Pisano, portrait
Leandro Pisano, portrait
France Jobin at Liminaria 2014
Interferenze New Arts Festival at MAXXI museum 2015: Enrico Ascoli and Hilario Isola’s “Auspicio”
- BEK - 01/11/2016 13:00
In this workshop you will build your own unique DIY digital effect pedal based on the Raspberry PI computer and Csound. Particpants are guided in mechanical fitting, soldering of connections, and are given a basic software introduction.
Csound is a powerful, multi-platform, real-time sound-processing environment that enables musicians to design their own instruments and audio-effects by writing a few lines of Csound code. The aim of the “Csound On Stage Music Operator” (COSMO) project was to embed Csound into a standalone musical device especially designed for live performance.
An advantage of such an embedded design is the straightforward inclusion of individual designed digital audio-effects into a regular live-electronics setup and provide direct haptic control of Csound to the performing musician. Such a musical device may also enable non-programming instrumentalists to include Csound in their analog live-performance setups.
The base design allows for 9V powering, regular quarter jack-in and jack-outputs for sound, MIDI in/out (via USB), up to 8 analog controller inputs (pot meter, expression pedal jack or other sensors) and 8 digital controller in/outs (switches and LEDs). Csound 6 (Csound Python API) is running on a Raspberry Pi micro- computer, equipped with an additional sound card for low latency audio input and audio output and a custom designed PCB board COSMO Cross Mixer that provides relay based true bypass and a stereo dry/wet mixer circuit. Everything will be mounted into either a sturdy aluminium box or a elegant wooden box. Both boxes will provide access to the USB and Ethernet ports on the Raspberry Pi for easy access to loading in new Csound files and connecting additional devices.
Participants will make their own design based on the available choices (type and amount of controllers and their physical layout) and then proceed to build their very own COSMO box by soldering and mounting the different components.
Go to https://www.facebook.com/cosmoproject or http://cosmoproject.github.io for more info and the latest updates on The COSMO Project.
Saturday November 12 10:00 – 18:00
Sunday November 13 10:00 – 18:00
All necessary components will be brought by the workshop holders and are included in the workshop fee. The fee varied depending on what box you want to build:COSMO Aluminium Box 2350 NOK COSMO Aluminium Box – Synth version (no audio input) 2050 NOK COSMO Wooden Box 2250 NOK COSMO Wooden Box – Synth version (no audio input) 1950 NOK Singing up
Sign up to the workshop by sending a mail to email@example.com with the following information:
- Phone number
- What box type you opt for
Maximum 10 participants, so sign up early!
Deadline for signing up: October 30Time and place:
- BEK - 12/11/2016 to 13/11/2016
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 firstname.lastname@example.org
Søknadsfrist 17. oktober NY FRIST 20.oktober
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.
- 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.
- 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 email@example.com
Søknadsfrist 17. oktober 20. oktober
Engasjementet starter umiddelbart etter at søknadene er vurdert.
For mer informasjon: Daglig leder, Lars Ove Toft, 922 85 861. www.bek.no
- BEK - 30/09/2016 to 20/10/2016
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.
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.
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.
- BEK residency - 13/10/2016 to 24/10/2016
- BEK artist talk - 21/10/2016 13:00
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.
Avgarde har lyst ut at det nå kan søkes om tilskudd fra Morten Eide Pedersens Minnefond.
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.
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