Bergen Center for Electronic Arts
The composer and musician Benjamin Thigpen is currently artist in residency at USF. In addition to electroacoustic composition, he performs live as an electronic musician. On September 2 Rust (Jean-François Laporte and Benjamin Thigpen) will give a concert and post-concert presentation at the Landmark, in Bergen. The will use and discuss the new instrumental configurations that they have been developing over the past year. BEK supports the residency. The concert is organised by Ny Musikk Bergen.
In addition to electroacoustic composition, I perform live as an electronic musician, primarily in the context of two duos – Rust, with Jean-François Laporte and Les Frères Bobine, with Stefano Bassanese. For these musical activities I construct my own electroacoustic instruments.
“Les Frères Bobine (Benjamin Thigpen and Stefano Bassanese) use inductors, coils, small metallic objects, amplifiers and computers to generate silent magnetic feedback loops. These “electromagnetic oscillators” are our instruments – at once material and virtual, digital, analog and acoustic. Through continual gestural control, we interact with them and influence them, without seeking total control. They behave like natural process, producing sounds that are fascinating, unpredictable and organic."
“Rust consists of Jean-François Laporte and Benjamin Thigpen playing newly-invented instruments – acoustic, electronic or electroacoustic. Since 2013, we have been developing our instrumentarium in a new direction. These configurations consist of numerous “prepared” piezoelectric contact microphones which are manipulated manually in conjunction with various vibrating objects and which are also brought into contact with small speakers and “exciters.” The signals produced in this way pass thru the computer where where the sound is further magnified and enriched. What results are complex fields of short-range acoustic feedback, an immersion in the materiality of sound, direct contact with vibrational energy, a sonic experience that is organic, physical, visceral – at times delicate and subtle, a times overpowering and extreme."
I am currently devoting a three-month artist’s residency at AIRBergen to the development of these two overlapping, intersecting instrumental configurations: soldering, building, exploring, experimenting, researching… It is a fantastic opportunity to systematically and methodically develop these instruments: giving all the time necessary to each element of the chain, moving gradually towards a setup that is ergonomic, portable and musically rich – varied, controllable (at least up to a point!) and fluid. It has become increasingly clear to me that this development will continue for many years, but here in Bergen I am laying a solid foundation for everything to come.
During this residency, the support of BEK has been incredibly helpful! Much of what I am doing would be much more difficult or totally impossible without the open access to the space and use of the tools.
Benjamin Thigpen, nomad, born in the United States, with degrees in English Literature, Comparative Literature and “Esthetics, Technologies and Artistic Creations,” immigrated to Paris at the age of 31. Since then, he has composed at GRM (Paris), at Musiques et Recherches (Belgium), at SCRIME (Bordeaux), at EMS (Stockholm), at the Visby International Centre for Composers (Sweden), at STEIM (Amsterdam), at Djerassi (California), at l’Espace Totem (Montreal), in his bedroom and in the train.
After 6 years at Ircam (Paris) and 7 at the Conservatory of Cuneo (Italy), he currently teaches computer music and (psycho)acoustics at Arts2 (Mons, Belgium), while also working as a free-lance programmer and musician.
He makes music for loudspeakers: electroacoustic works (composed on electromagnitic support); pieces for live computer performance; interactive music for computer and acoustic instrument(s); computer improvisation. His music is concerned with issues of energy, density, complexity, movement, simultaneity and violence, and he often works extensively with space as a primary compositional parameter. He thinks that music does not exist in time but rather creates it, and considers that music is not the art of sound but the art of the transcendence of sound.Time and place:
- AIR Bergen, USF - 01/07/2014 to 29/09/2014
- Ny Musikk Bergen, Landmark - 02/09/2014 21:00
Den 31.august arrangerer Skånes Konstforening et seminar som anbefales. Er du i nærheten-‘anmäl dig’! Skånes konstförening ligger i
Bragegatan 15 i Malmö.
Trond Lossius and Joseph Anderson will present a poster at the joint ICMC|SMC|2014 Conference in Athens, Greece. The paper presents a port of the Ambisonic Toolkit as a series of plugins for the Reaper DAW. ATK for Reaper brings both a comprehensive composition workflow model, the sound-field sound-image paradigm, and a set of versatile tools for working with Ambisonics to the DAW environment.
The paper will be available for download at the time of the conference, along with a first version of the ported plugins. The plugins are licensed according to the GNU LGPL Lesser Public License Version 3.ATK Reaper: The Ambisonic Toolkit as JSFX plugins
by Trond Lossius (BEK) and Joseph Anderson (DXARTS, University of Washington)Abstract
While there is a well-established workflow for stereo production in DAWs, options have been more limited when working with Ambisonics. The Ambisonic Toolkit (ATK) brings together a number of tools and transforms for working with first order Ambisonic surround sound, and includes intriguing possibilities for spatial soundfield imaging. These tools have previously only been available for public release via the SuperCollider real-time processing environment.
Cockos Reaper is a reasonably priced and flexible DAW, popular among many composers and sonic artists working with spatial sound. Reaper’s versatile design conveniently supports the ATK’s Ambisonic workflow model. Using the JSFX text-based scripting language, the ATK has now been ported to plugins for Reaper; these include intuitive graphical user interfaces.Time and place:
- The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014
The upcoming version 0.6 of Jamoma enables model-view-controller separation in Max. The novel features that Jamoma 0.6 enables will be presented in a paper at the joint ICMC|SMC|2014 Conference in Athens, Greece. A demo session will further exemplify the many benefits of MVC separation in Max using Jamoma 0.6.
Both papers will be made available for download at the time of the conference. Alpha versions of Jamoma 0.6 are currently available.Paper: Model-View-Controller separation in Max using Jamoma
by Trond Lossius (BEK), Theo de la Hogue (GMEA), Pascal Baltazar (L’Arboretum), Tim Place (74objects LLC), Nathan Wolek (Stetson University) and Julien Rabin (GMEA)Absctract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, as well as views that can be dynamically loaded, bound to a model, and then disposed. Jamoma 0.6 enables MVC separation in Cycling’74 Max through custom externals and patching guidelines for developers. Models and views can then be nested for a hierarchal structuring of services. A local preset system is available in all models, along with namespace and services that can be inspected and queried application-wide. This system can be used to manage cues with modular, stringent and transparent handling of priorities. It can also be expanded for inter-application exchange, enabling the distribution of models and views over a network using OSC and Minuit. While this paper demonstrates key principles via simple patchers, a more elaborate demonstration of MVC separation in Max is provided in 1.Demo: Using Jamama’s MVC features to design an audio effect interface
by Trond Lossius (BEK), Nathan Wolek (Stetson University), Theo de la Hogue (GMEA) and Pascal Baltazar (L’Arboretum)Absctract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, and views that can be dynamically loaded, repurposed, and disposed.
The use of MVC is widespread in web applications, but is far less common in interactive computer music programming environments. Jamoma 0.6 enables MVC separation in Cycling’74 Max, as presented in 1. This demonstration will examine the development of a multi-band equaliser using these recent additions to Jamoma. This review of the design process will serve to highlight many of the benefits of MVC separation.Time and place:
- The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014
Jan Schacker, Chikashi Miyama and Trond Lossius will present a poster at the joint ICMC|SMC|2014 Conference in Athens, Greece. The paper presents recent development of a `libspatdif’ C/C++ software library for SpatDIF, the Spatial Sound Description Interchange Format, as well as prototype implementations in Max, Pure Data and OpenFrameworks making use of the library.
The paper will be made available for download at the time of the conference.The SpatDIF library – Concepts and Practical Applications in Audio Software
by Jan C. Schacher (Zurich University of the Arts Institute for Computer Music and Sound Technology ICST), Chikashi Miyama (University of Music, Cologne Studio for Electronic Music) and Trond Lossius (BEK).Abstract
The development of SpatDIF, the Spatial Sound Description Interchange Format, continues with the implementation of concrete software tools. In order to make SpatDIF usable in audio workflows, two types of code implementations are developed. The first is the C/C++ software library `libspatdif’, whose purpose is to provide a reference implementation of SpatDIF. The class structure of this library and its main components embodies the principles derived from the concepts and specification of SpatDIF. The second type of tool are specific implementations in audio programming environments, which demonstrate the methods and best-use practices for working with SpatDIF. Two practical scenarios demonstrates the use of an external in MaxMSP and Pure Data as well as the implementation of the same example in a C++ environment. A short-term goal is the complete implementation of the existing specification within the library. A long-term perspective is to develop additional extensions that will further increase the utility of the SpatDIF format.Time and place:
- The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014
(by Trond Lossius)
Over the past 1 1/2 year I have gradually been porting Ambisonic Toolkit by Joseph Anderson et. al. to a set of JS FX plugins for Reaper. ATK for Reaper consists of a number of plugins for encoding, transforming and decoding FOA sound fields, and contain several functionalities that to the best of my knowledge are not available in existing plugin suites for FOA.
Me and Joseph have been writing a paper on the subject that will be presented as a poster at the upcoming joint ICMC / SMC conference in Athens. I’d like to have an initial release of ATK for Reaper available for download by the time of the conference, but before letting it out in the wild, it would be useful to have some beta-testing in order to ensure that there are no obvious malfunctions, omissions or bad interaction design decisions in the first release. Hence I’m looking for a few beta testers to give some initial feedback on the plugin suite.
I have made an installer for OSX that should make it easy to get up and going. For Windows installing currently will require a bit of manual copying into the correct folders. I have not tested the plugins on Windows myself yet, but as it is all based on the JS FX scripting language, I would expect them to work the same there as on Mac. On Windows it would also be possible to test them with other VST hosts using ReaPlugs.
In particular I’m looking for feedback of the type:
- “This seems to work well”
- “This is just not working”
- “This is just plain wrong”
- “This is really nice and intuitive”
- “This is not intuitive at all”
- “I have a suggestion for an improvement: …”
Initial reactions to the plugins are particular useful, as the first reaction to user interfaces are often quite informative in terms of how the user interaction design works (or not).
If you are (1) a regular user of Reaper, (2) have prior experience with first order ambisonic, and (3) have the interest and some available time over the next two weeks for testing and providing feedback, please contact me. If you have prior experience with ATK for SuperCollider, that would be useful as well. Please also provide me with information on what OS you are using.
And if you have prior experience with building installers for Windows that would be particularly useful, I might need some help when attempting to solve this one.
Anders Elsrud Hultgreen’s circular film Evighetens Avkom (eng. title: The Perpetual Progeny) will be screened at a cabin in the woods of Ceresole Reale, Italy (50 kilometres northwest of Turin) – The screening is curated by Daniela Arriado & Mirjam Struppek of Screen City Festival.
The film is commissioned by BEK.
Here is an excerpt from the film
- Ceresole Reale, Italy - 23/08/2014 19:30
- Ceresole Reale, Italy - 24/08/2014 19:30
- Ceresole Reale, Italy - 30/08/2014 19:30
- Ceresole Reale, Italy - 31/08/2014 19:30
In cooperation with the Belgium label Seismographic Fabric we launch the album ‘frihet, samspill, isolasjon’ with contributions from Sigbjørn Apeland, Kris Delacourt, Espen Sommer Eide, Knut Vaage, Anne Marthe Dyvi, Signe Lidén and Dag-Are Haugan. The record is a double vinyl with cover by artist Jochem vanden Ecker.
Platelansering på Fjellhytten på Fløyen 14.juni 2014, kl. 19 (fløibanen avgang kl. 18). Lett servering og fjellluft inkludert. Ta med egen drikke. Aktivitetsprogram annonseres senere.
Juni 2011 arrangerte BEK – Bergen senter for elektronisk kunst, den andre utgaven av Rad i Våge, Kvinnherad. Arrangementet fant sted i komponisten Knut Vaages hytte. Hytta er et sted hvor Vaage komponerer musikk i isolasjon. Den er plassert på familiegården, der hans bestefar, bonde og poet Ragnvald Vaage, skrev dikt, noveller og romaner i begynnelsen av det 20. århundre. Rad #2 inviterte et utvalg musikere, kunstnere, publikum og flått, som improviserte sammen og tilbrakte natten i hytta og i medbrakte telt, lavvoer, småbåter og bobiler. Rad #6 er basert på en serie opptak av Rad #2.
Rad is a series of singular events curated by Espen Sommer Eide and Anne Marte Dyvi. This Rad #6 album is based on recordings from the event Rad #2, where artists and audience huddled in the cabin of composer Knut Vaage, a night in June, 2011.
BEK, Bergen Center for Electronic Arts, is a national resource centre for work within the field of arts and new technology.Time and place:
- Fjellhytten - 14/06/2014 19:00
Ved Høgskolen i Oslo og Akershus er det fremdeles noen ledige studieplasser på Masterstudiet i estetiske fag ved den nye studieretningen Kunst i samfunnet. Studieretningen er sentrert rundt formidling, prosjektutvikling, organisering, kuratering, kulturelt entreprenørskap og kunstkritikk.
The prog black metal band Enslaved and multi-percussionist Ole Hamre has been commissioned to write a new work for The Tall Ships Races 2014 Bergen. They will perform from the front deck of Statsraad Lehmkuhl Saturday evening, and the concert involves the participation of many of the ships at the harbour.
BEK has developed the technology that enables communication between the musicians and the boats.
As Ole Hamre plays the keyboard, an application developed in Max sends OSC messages to a server at BEK. A server-side application, also developed in Max, receives the messages, and updates a number of web pages accordingly. Each of the boats is provided with a link to a web page that provides them with instructions about when to blow the horn.Time and place:
- Fisketorget/Statsraad Lehmkuhl, Bergen - 26/07/2014 21:30
1 installation – 6 stories
Then she looks her in the eye. Everything stops. Before time began again. From a sullen restraint and cool exterior, she finds herself in chaos.
Bjorn Holbakken exhibition Innerst is an installation consisting of six paintings.
Each painting is associated with a short story, each painting has its own story. The stories offers us a glimpse into the nature of man when they meets themselves. The exhibition consists of paintings, sculpture, trash , video and text. Musician and artist Katy Penny has made a sound backdrop and will also be contributing with a musical performance at the opening. The performance has been composed especially for the occasion . Bergen Center for Electronic Arts – BEK, has contributed with technical solutions.
Bjorn Holbakken studied at the Art Academy in Bergen and has had a long career as a ceramic artist. In recent years he has moved from clay over to canvas, in addition to working with installations . This is the fifth time that Holbakken has exhibited at Gallery VOX .
The exhibition opens May 15th at . 17 , with performances by Katy Penny , accounting for 7 June.
NOTE : The Gallery is closed on 17 and 29 May.
Welcome to Gallery VOX . Strand Street 223, 5004 Bergen
- Galleri Vox - 15/05/2014 to 07/06/2014
Cornelia Glitsch (Foto) og Hans Christian van Nijkerk (Video/Lyd)
Utstilling på BLOKK – 01-03. august 2014.
Åpning: 01. august kl 20:00.
Utstilling på BLOKK – 01-03. august 2014.
Åpning: 01. august kl 20:00.
Utstillingstittelen er et sitat fra Alan Lightmans essay “Prisoners of the Wired World” hvor han reflekterer over hvorfor han ikke lenger sløser med tid. Utstillingen er det første samarbeidet mellom Cornelia Glitsch og Hans Christian van Nijkerk. De oppdaget at enkelte av deres arbeider lå innenfor samme grunntone, estetisk og tematisk. Begge kunstnerne er opptatt av oppmerksomhet og evnen til å finne og dvele ved noe. De liker å ha en nysgjerrig og lyttende tilnærming og ser verdien i å øve seg i tålmodighet og følsomhet. Derfor tiltrekkes de gjerne av situasjoner, ting og steder der det tilsynelatende skjer lite, men der noe allikevel griper dem.
Lydsporet, komponert og spilt inn av Hans Christian, er inspirert av ambient musikksjangeren (jf. Brian Eno, Boards of Canada m.m.). Ambient musikk vektlegger tone og atmosfære fremfor tradisjonell oppbygning eller rytme og er “ment til å gi ro og et rom å tenke i.” (fra heftet til Brian Enos Ambient 1: Music For Airports.)
Cornelia Glitsch (f. 1976) har bachelor fra KHIB og har de siste årene levd av sesongarbeid som kirkegårdsgartner og brukt vintrene til egenstudier og kunstprosess med interesse for blant annet langsomhet. Foto er et av hennes nærmeste uttrykk; det har vært med lenge og er det hun bruker mest kontinuerlig. Andre uttrykk hun har jobbet med er performance, sang, lyd og stedsspesifikke verk.
Hans Christian van Nijkerk (f. 1982) er en norsk/nederlandsk billedkunstner, performer og musiker bosatt i Bergen. Han tok sin bachelor i samtidskunst i Tromsø. Hans Christians primære uttrykk er performance, såvel live som videobasert. Videre jobber han med musikk, lyd, foto, tekst og installasjon. I arbeidene sine utforsker Hans Christian – gjerne med humor – tematikk som publikum, kommunikasjonsteknologi, grådighet, begjær, minner, forgjengelighet og død. Hans siste til dels autobiografiske hovedprosjekt omhandler konkurranse og friidrett.
Han har opptrådd på og stilt ut i bl.a. Silverlens Gallery (Singapore), NNKS (Svolvær), Small Projects (Tromsø), NM i poesislam (Oslo) og Dansens Hus (Oslo).
Utstillingen er støttet av BEK.
- BLOKK - 01/08/2014 to 03/08/2014
Beginning this autumn, Rhizome and Beijing-based TASML and CAT/CCIA will award a substantial new prize for internet art.
The “no strings attached” prize, which will be awarded three times in total in 2014, 2015, and 2016, will recognize the past work and future promise of one artist making outstanding work on the internet. The awardee will receive $10,000; a second distinction award of $5,000 will also be made each year.
To us, the prize feels timely. It celebrates the current moment of internet art and looks ahead to its future. As many artists have won international acclaim for work that tackles technology as subject matter through media forms of long standing—sculpture, installation, and painting—internet art remains less recognized, less supported. This prize gives a boost to those who continue to make art on the internet, and emphasizes the unique cultural importance of such work.
We’re thrilled to work with our partners to acknowledge significant internet artists who continue to be committed to working online, who have inspired us in the past, and whose best work still lies ahead.
Deadline for nominations: August 31, 2014. Please see full information about the prize on http://www.prixnetart.org.
Festival Radical dB, based in Zaragoza, Spain, is seaking for artists working in the field of Live Coding for the first edition of the festival on 13th-16th of november 2014.
Selected artists will present a performance of 30 minutes plus a presentation of their work.
Artists must send a link with video of a live performance, a bio with residence address.
Concerts will take place at brand new Centro de Arte y Tecnologia Etopia
Radical dB will provide accommodation for 1 to 3 nights on the festival, and in some extent travel and artist fees.
Artists will be proposed to be interviewed by local radio.
Send the material at : firstname.lastname@example.org
WAC is the first international conference on web audio technologies and applications. http://wac.ircam.fr
The conference welcomes web R&D developers, audio processing scientists, application designers and people involved in web standards.
Contributions to the first edition of WAC are encouraged in, but not limited to, the following topics:
- Innovative audio and music based web applications (with social and user experience aspects)
- Client-side audio processing (real-time or non real-time)
- Audio data and metadata formats and network delivery
- Server-side audio processing and client access
- Client-side audio engine and rendering
- Frameworks for audio manipulation
- Web Audio API design and implementation
- Client-side audio visualization
- Multimedia integration
- Web standards and use of standards within audio based web projects
- Hardware, tangible interface and use of Web Audio API
Call for submissions
- Technical papers – 2 to 8 pages
- Demo / Poster
- Web Audio Gig – involving usage of the Web Audio API and “audience devices participation”
October 10, 2014: Deadline for submission -
Please refer to the WAC website for additional information:
Kunsthøgskolen i Oslo bekjentgjør nå et nytt kurs til høsten:
Videreutdanning i entreprenørskap: Hvordan å bli rik på din kunst, også økonomisk.
Målgruppen for kurset er designere og hele bredden av kunstnere, som visuell kunst, musikk, dans, opera og teater. Formålet er å hjelpe utdannede kunstnere og designere til å etablere og videreutvikle egen bedrift, og arbeide med den utfordringen det er å skape inntekt på grunnlag av den kompetansen man har.
Søknadsfrist for opptak er torsdag 7. august 2014.
Informasjon om kurset finnes her: http://www.khio.no/Norsk/Studieinformasjon/Etter-_og_videreutdanning/Kurstilbud/
Etter- og videreutdanningen ved Kunsthøgskolen i Oslo
Seniorrådgiver, kunstnerisk utviklingsarbeid og arbeidsliv
Prosjektleder, entreprenørskap i kunst og design, http://ekd.khio.no/
Etter- og videreutdanningsprogrammet v/KHiO http://www.khio.no/evu/
tel 00 47 93 20 82 10
Kunsthøgskolen i Oslo
6853 St Olavs plass
Orgnr: 977 027 233
Sentralbord: 22 99 50 00
As part of the Multi concert series 2014, Lydgalleriet & BEK presents: An ambisonics concert feat.
Åke Parmerud (SE)
Ludger Brummer (DE)
Natasha Barrett (NO/UK)
Fernando Lopez-Lezcano (USA)
Anders Vinjar (NO)
Doors open 20:00, concert starts at 20:30
Aria ex Aria by Anders Vinjar is commisioned by BEK.
Åke Parmerud (Sweden): Raw (2012) 18’00 – Norwegian premier
”Raw” was made for an event created by GEIGER, a Swedish organisation for new music situated in my home town Goteborg. I wanted to make a ”noisy” piece since somehow noise music tends to be a preference in the choice of music presented during the GEIGER events. The piece was made from one sound source only. The most uncontrollable software synth I ever encountered: Skrewell, a part of Native Instruments collection of instruments. I decided to use the output totally ”raw” as not to try to perfect the sound in any way, not adding any processing, effects or other post treatment of the sound. It finally came out as a kind of composed improvisation where I combined prerecorded material with live performance. Of course it was a complete failure taken as a noise piece. I guess I reached my limits as a musical chameleon in this case, but I am still quite happy with the outcome of a piece created in less than a week… ’Raw’ is spatialised using ZKM’s Zirkonium software.
Ludger Brummer (Germany): Shine (2007) 20’00 – Norwegian premier
A composition for Klangdome.
The paradoxical idea of moving forward yet staying in the moment has been fascinating me for a long time. This thought can be the basis for nightmares but also for interesting thinking models. Consistently fractals among other things can be subordinated to this logic contradicting all dialectic.cMusically speaking this paradox can be phrased in the use of single grains. The grain as sound object is a singular event. By condensing the amount of grains a continuous surface emerges composed from many single events that disintegrate afterwards into singular moments. Equally, singular intervals merge into patterns that again will be compressed into an extremely complex structured surface.This is exactly what happens in the course of the composition Shine – after a burst the singular event emerges from the surface, out of which shapes, while gathering speed and becoming more complex, turn into a surface again before finally disintegrating in the coda. It is the ever constant that is articulated in its permanent wandering.
The totality of this environment is enhanced by the expansion of the acoustic sound space surrounding the listeners’ spheres. As a result the audience appear as part of a cosmos, within which they are located.
’Shine’ has been realised with the aid of Genesis, Zirkonium, Common Music and Common Lisp Music softwares.
Genesis, a software used to simulate swinging objects, was developed at ACROE Institute by Claude Cadoz, Annie Luciani and Jean-Loup Florens. This technology applied in animating physical models is based on the implementation of Newton’s laws. The simulation of objects is persued both acoustically and visually.
The Zirkonium software was developed at ZKM|Karlsruhe .With the aid of Zirkonium software multi-channel works can be played in various speaker environments. Common Music is an algorithmic compositional tool, designed by Heinrich Taube at ZKM and the University of Illinois. Common Lisp Music is a sound synthesis protocol, developed by William Schottstaedt at CCRMA of Stanford University.
Natasha Barrett (Norway / UK): Shanghai Soundwalk (2014) 8’35 – World premier.
’Shanghai Soundwalk’ is a recording of an environmental excursion: a soundwalk in the traditional sense, compressed in time. We cross the Huaihai Middle Road, follow parallel backstreets where men playing mahjong mix with children, bikes, scooters and woman going about their daily chores, heading towards markets in the Laoximen district. A clear jump in time and space over the Huangpu River launches us into the World Expo 2010. ’Shanghai Soundwalk’ is decoded from 1st order Soundfield recordings. A stereo and binaural 3D version will be released on the +3dB label later this year.
Fernando Lopez-Lezcano (USA): Velvet Skin, Heart of Steel (2013) 7’06 – Norwegian premier
The Bing Concert Hall may appear to be sonic velvet, gracefully covered with multiple overlapping sinusoidal curves carved from warm resonant wood, its sails and cloud ceiling caressing all sounds produced on stage into enveloping beauty, but at the core, the Bing Concert Hall is made of steel. I had a chance to bang on the steel beams as they were waiting on the ground before construction began. Sleeping steel, biding for its time of hidden glory. I also climbed on top of the “cloud” ceiling after construction was finished, recorder in hand, and spent one hour getting sounds out of anything that could be banged or scrapped or bowed. Some of those sounds are included in this collage and short etude that is a prelude for a longer piece. Included are metal doors banging in asymmetrical rhythms, steel pipes and beams of all shapes and sizes, big ventilation fans left over after construction, and much more. The sonic materials were coaxed into musical form using Bill Schottstaedt’s s7 Scheme language interpreter and CLM. ’Velvet Skin, Heart of Steel’ is spatialised with 3rd order 3D ambisonics.
Anders Vinjar (Norway): Aria ex aria (2014) 12:00 – World premier.
The piece contains recordings of rooms – inside, outside, small, large – filled with the sound of many types of activity – spanning technology, human expression, and nature sounds. The recordings are made using a DMS technique, also known as Sound Field mic. Madelaine Church in Paris, a car, mountain waters in Vassfaret, interiors of instruments, the vegetable seller on the street corner, wandering through Oslo, trifles on the table – different sounding qualities interact and are thus shaped further, creating a musical progression at play. The play is encoded in Ambisonics. All the work is done with Linux and open source software.
- Lydgalleriet - 26/06/2014 20:00
As part of Hovefestivalen’s artistic program, Benedicte Clementsen will show two art works. In Bunker 37 she displays her video installation One Combination Like Any Other (two channel video (HD) (6:11 min) and audio (17:11 min), looped) ; on the Pebble Beach, which is part of the festival site, she shows performances at announced times.
Videoen er ved første øyekast vakker og forførende, med sine hudlige og taktile referanser, men under overflaten lurer en ubestemmelig og nærmest postapokalyptisk stemning. Lydarbeidet er både kroppslig og intens i karakter, og bidrar til å etablere et uforløsende spenningsfelt. Performancen forholder seg til naturomgivelsene på Hove og tar utgangspunkt i dyre- og planterikets evner til kamuflasje og mimikry.
Benedicte Clementsen undersøker det kroppslige i møte med industrielle materialer og omgivelser, hvor kroppen og materialet betraktes som likeverdige aktører i sin overførbare sanselige taktilitet.
BEK has supported the project with equipment and project space for testing playback solutions and formats.
Benedicte Clementsen (f. 1986) bor og arbeider i Bergen. Hun har sin base i tidsbaserte medier som performance og video, ofte i sammenheng med lyd og installasjoner. Clementsen fullførte våren 2014 sin bachelorgrad ved Kunst- og Designhøgskolen i Bergen, Avdeling kunstakademiet. Hun har blant annet vist arbeider ved Grace Exhibition Space (Brooklyn, New York), Lincoln Art Programme (Lincoln, England), Atelier Nord, KNIPSU og Galleri Fisk.
www.benedicteclementsen.comTime and place:
- HOVE - 28/06/2014 to 03/07/2014
We experience hard drive failure at our server today, currently affecting mail services. We hope to have it fixed by the end of the work day.
Isn’t it a non-gender specific voice, unconscious sound we make/ heard, signal tunes, a universal language when relaxed/ nervous, a forbidden gesture, a skill that parents taught, and a little gust of wind going through our lips?
The Whistling Project is a performative research initiated by Susi Law from last fall, she interviewed whistlers she came across and collected whistling sound in different cities in Germany, Switzerland, France and Norway. By invitation from curator Gitte Sætre, the project is now stationed at Alvøen (one of the oldest industrial communities which became one of the finest residential areas) with interactions between the local residents and the nature by private/ public whistling moments.
The project Whistle for Alvøen begins at Alvøen Culture Day* and will last for the whole month in June. Artist/ Active Listener Susi Law will be setting up a few whistling stations in Alvøen, and collect stories and whistling tunes in the air. The selected research materials will be shown in the end of June.
Susi Law, independent artist and active listener. She focuses on capturing, translating, articulating and circulating sensitivity. She graduated from Academy of Visual Arts in Hong Kong and Bergen Academy of Art and Design, and have been working on curatorial affairs in sound art.
BEK supported the project with equipment and working space.
- the museum garden of Alvøen Manor - 01/06/2014 to 30/06/2014