Bergen Center for Electronic Arts
Lewis University and Kansas City Kansas Community College are pleased to announce an international call for submissions for the Electronic Music Midwest Festival, featuring guest performer Keith Benjamin (trumpet), to be held November 19-21, 2015 at Kansas City Kansas Community College. Each concert will feature an 8.1 speaker diffusion system. Acclaimed trumpeter, Keith Benjamin, will be the featured performer and composers are encouraged to submit works for his consideration. Any composer regardless of region, age or nationality may submit one work.
Deadline: May 20, 2015
Entry Fee: none
For complete guidelines, visit http://www.emmfestival.org/data/callforsubmissions.html
Throughout March, BEK is organising a series of seminars
exploring the ambiguity of the notion of media from an aesthetic and technological perspective.
Download full program in PDF
The themes range from sonic art and theory of rhythm, through the emergence of narratives about multimedia systems in the amalgam of library science and peace activism, to a relation between early video art and ecological crisis. The speakers include Ina Blom, Florian Cramer, Knut Ove Eliassen, Olga Goriunova, Aud Sissel Hoel, Eleni Ikoniadou, and Femke Snelting. The series is programmed by Dusan Barok, founding editor of Monoskop.org currently based in Bergen, in collaboration with BEK, and held at Hordaland kunstsenter. This last event is taking place on March 25.
Wednesday, 25 March 2015, 18:30, HKS
Florian Cramer – Talking Past Each Other. On the Word Combinatorics of “Post”, “Media”, “Digital” and “Internet”
What makes the contemporary terms “post-media”, “no media”, “post-internet” etc. so confusing is their reference to greatly different, sometimes unrelated notions of “medium” and “media” that have historically coexisted in the arts and the humanities. The term “post-media”, for example, had two independent coinages and resulting different meanings, one in art criticism and another one in media philosophy. Now that art critical, media theoretical and continental philosophical debates are converging in new constellations and practices, concepts and terminology often get conflated without everyone being aware of it. This lecture will attempt to cut through the mess.
Florian Cramer, reader for new media and their impact on art and design at Creating 010/Willem de Kooning Academy, Rotterdam University of Applied Sciences, The Netherlands. Recent publications: Anti-Media. Ephemera on Speculative Arts (NAi 010 Publishers, 2013), What Is Post-Digital?, A Peer-Review Journal About (2014), http://www.aprja.net/?p=1318.
Olga Goriunova – Digital Subjects and the Questions of the Real
Whereas plastic was once imagined not only as a medium to artistically explore but also a social programme of revolutionary nature, plastic bags, toothbrushes, rubber ducks and other plastic debris are now the basis for the Pacific Trash Vortex, a major threat to marine and consequentially human life, a condition which cannot be simply described as ‘postplastic’. Analogically, instead of focusing on the questions raised by the current accounts of postmedia, I suggest to take a materialist approach to understand the nature of the multiple relations that arise within the thick distance between subjects and their data, digital objects, social media performances and other computational debris. When various kinds of data are pulled together to create forms of digital subjectivity, often proclaimed to be indexically linked to subjects, whether psychoanalytic, demographic or Foucauldian, it is exactly these forms of connection, change and continuity that don’t only indicate disciplinary frictions, but also raise the questions of political character, as well as the questions of what constitutes the real for all the parties involved.
Olga Goriunova is an Associate Professor at the University of Warwick. She recently published an edited volume Fun and Software: Exploring Pleasure, Pain and Paradox in Computing (Bloomsbury, 2014), that attempts to salvage some breathing space in what appears to be a monolithic neoliberal neo-Kantian metacomputational narrative. She is a co-editor of Computational Culture, a journal of software studies (http://computationalculture.net). She once made the Suicide Letter Wizard for Microsoft Word, and is now working on the questions of digital subjectivity, social media images, idiocy and nonsense, as well as the explorations of the limits in both ethico-aesthetic and ecological terms.
Knut Ove Eliassen – Aesthetic Technologies
The term “electronic arts” long had the ring to it of an oxymoron or a catachresis – a figure of speech that brings together contradictory elements or terms that belongs two distinctly different spheres. Due to the development over the last decades of disciplines such as media archaeology, digital humanities, ludology, archive aesthetics, computer culture, and the like, it has become much of a truism that the arts are not merely neutral media of expression but that aesthetic objects have always been imbued with technology. But then again, what does this imply? And what are the consequences? Taking as my starting point the media aesthetics developed in the wake of the work of German media scholar and historian Friedrich Kittler, I will give an overview of the major positions of the so-called Berliner Schule and discuss what I consider its major contribution to the study of aesthetics.
Knut Ove Eliassen is a professor in comparative literature at the Norwegian University of Science and Technology (NTNU) in Trondheim. With a background in history of ideas and philosophy he has published on 20th century French philosophy, aesthetics, media archeology and the literature and philosophy of the Enlightenment. He has also translated Michel Foucault, Friedrich Kittler, and Jean Baudrillard.Time and place:
- HKS - 25/03/2015 18:30
This weekend Stiftelsen 3,14 offers a four day video screening program with works by Sara Rajaei, Cynthia Marcelle, Elena Kovylina and Eva Ljosvoll. All four artists have exhibited previously at 3,14, and this is an opportunity to see some of their more recent works.
Three of the works are world premieres; Égalité Bergen by Elena Kovylina, based on a performance at Festplassen in Bergen December 6 last year, Ikke alle dørene er lukket by Eva Ljosvoll, and there was the dream and there was a memory connected with it by Sara Rajaei.
In addition three works by Cinthia Marcelle are presented; 475 Volver, ao plano and O século, and one additional work by Sara Rajaei; 1978 the 231st day.
Trond Lossius has co-curated the two works by Sara Rajaei for this exhibition. Additionally BEK supports the exhibition with equipment.Time and place:
- Stiftelsen 3,14 - 12/02/2015 to 15/02/2015
Throughout March, BEK is organising a series of seminars exploring the ambiguity of the notion of media from an aesthetic and technological perspective.
The themes range from sonic art and theory of rhythm, through the emergence of narratives about multimedia systems in the amalgam of library science and peace activism, to a relation between early video art and ecological crisis. The speakers include Ina Blom, Florian Cramer, Knut Ove Eliassen, Olga Goriunova, Aud Sissel Hoel, Eleni Ikoniadou, and Femke Snelting. The series is programmed by Dusan Barok, founding editor of Monoskop.org currently based in Bergen, in collaboration with BEK, and held at Hordaland kunstsenter. Events are open to general audience and will take place on March 4, 18, and 25.
The Extensions of Many: Seminars on Media Aesthetics
Media-theoretical discussions on aesthetics in recent years gave way to miscellaneous contributions such as those on post-digital aesthetics (Cramer 2013), post-media (Post-Media Lab 2013), ‘anti-media’ (Cramer 2013), ‘evil media’ (Fuller and Goffey 2012), or ‘no media’ (Dworkin 2013). They share one common denominator: the persisting effort for a new theorisation of media and mediality. The humanities’ modernist understanding of media as a means of artistic expression (painting, sculpture, photography..) got complicated by importing elements from mathematical theory of communication, and particularly the interpretation of information channel as medium. This semantic ambiguity was embraced notably in the 1960s in the circuits of conceptual and computer art and from the 1990s on in the domain of new media art, which, despite the former postmodern turn, implied a new artistic genre in terms of the exploration of and work with the latest technology as its means of expression. New media artists in turn refuted the criticism of their modernist nostalgia claiming that the relevance of their work resides in artistic research of media as contemporary information, communication channels.
The issue of medium-specifity had been raised in aesthetics on several notable occasions: in connection with dismantling Horace’s maxim ‘ut pictura poesis’ (Lessing 1766), arguing for the primacy of material ‘faktura’ over stylistic ‘manera’ in the Russian savant-garde of the 1910s (Markov 1914), or formulating the imperative for the arts to submit to the purity of their respective media (Greenberg 1940). However, the introduction of information theory (Shannon 1948) and the unavoidable inclusion of digital (communication) media in the arts thrown the artistic medium into a paradoxical situation between its agency, on the one hand, as the formal/materiological determinant of a work of art, and on the other, as a sole transmission channel of mimesis.
For this series of three seminars, seven scholars working in Norway and internationally were invited to give 45-60-minute talks, each followed by moderated discussion.
///// PROGRAM /////
Wednesday, 4 March 2015, 18:30, HKS
Eleni Ikoniadou – Into the Midst of Things: Sonic Art and the Speculative Aesthetics of Rhythm
In the age of computational media, sound can offer dynamic ways of accounting for bodies, events, and aesthetics. In particular, this talk will look at how sound art experiments that move from the purely sonic to the vibrational and the imperceptible, can allow us to speculate on the idea of a rhythmic aesthetics. The situations these projects effectuate indicate that rhythm becomes the new spatiotemporal reality of the artwork, autogenerating between all the elements and synthesising their interactions without residing in any of them.
This talk will suggest that the digitalisation, virtualisation and abstraction of rhythm, which sonic artworks practically enable and conceptually encourage, expose us to realities that no longer require the active participation of a cognitive subject. As we will see, the concept of rhythm, detached from symmetry and regularity, can uncover immediation, potentiality and affectivity as immanent to our dealings with sound.
Eleni Ikoniadou is Senior Lecturer in Media and Communication at Kingston University. She is the author of The Rhythmic Event (MIT Press, 2014, Technologies of Lived Abstraction series), co-editor of Media After Kittler (Rowman and Littlefield International, 2015) and co-editor of the Media Philosophy series (RLI).
Aud Sissel Hoel – Operative Image
There is much talk these days about images being performative or operative. These notions, which foreground the active and processual dimension of images, are often evoked in order to make sense of the disruptions in the image economy brought about by digitisation. In this talk, however, I propose a deeper revision of the very image category as such. I undertake this revision, first, by arguing that images are “mediating apparatuses.” The notion of “mediating apparatus” is introduced in an attempt to rethink media and mediality in dynamic terms, something that involves a break with notions of media associated with modernist art criticism, as well as with instrumental notions of media as neutral information channels. I proceed to specify what I mean by operative images by maintaining that images, like all mediating apparatuses, are “differential tools,” and that, as such, they have ontological import. Images, in other words, are reconceived as “measures of being.”
Aud Sissel Hoel is Professor of Media Studies and Visual Culture at the Norwegian University of Science and Technology. Hoel’s research covers a wide range of topics in the overlapping fields of image theory, media philosophy, science studies, and digital culture. Recent publications include Ernst Cassirer on Form and Technology: Contemporary Readings (Palgrave Macmillan, 2012), a special issue on computational picturing (2012), and Visualization in the Age of Computerization (Routledge, 2014).
Wednesday, 18 March 2015, 18:30, HKS
Ina Blom – Video, Water and Social Ontology
The emergence of analog video, a real-time apparatus whose sophisticated microtemporal operations indicated the existence of memory-frameworks independent of (and largely inaccessible to) human perception, opened the field of art to extensive social inventiveness. This inventiveness involved close interactions between human and non-human time loops, technical as well as biological. In my account of this history, video emerges as an autobiographical “subject” or agent that deploys the contexts, personnel and materials of “art” for an exploration of its own temporalizing capacities and – in extension of this – the very tenets of social memory. This activity can be traced through a number of different phenomena marking early video art; in this context I will focus on the video’s peculiar alliance with water in the context of the ecocrisis of the early 1970s, resulting in new conceptions of nature as well as of social ontology.
Ina Blom is an art historian (professor at the University of Oslo) and art critic, contributing to Artforum, Afterall, Parkett, and Texte zur Kunst. Her latest book is On the Style Site. Art, Sociality and Television Culture (Sternberg Press, 2007, 2009). A new book, The Autobiography of Video. The Life and Times of a Memory Technology, is forthcoming from Sternberg Press in late 2015.
Femke Snelting – The Internet on Paper
In 1934, documentalist Paul Otlet wrote: “Humanity is at a turning point in its history. The mass of available information is formidable. New instruments are necessary for simplifying and condensing it, or the intellect will never know how to overcome the difficulties which overwhelm it, nor realise the progress that it glimpses and to which it aspires.” Otlet considered radio, cinema, micro-fiche, phonograph and television all worthy substitutes for the book as information carrier. He envisaged them interconnected into a ‘radiated library’, an intellectual multi-media machine that would support the publication, consultation and creation of knowledge.
Since 1993, the remains of Otlet’s extensive collection of documents are being cared for by The Mundaneum archive center in Mons. Located in a former mining region in the south of Belgium, Mons is also right next to Google’s largest datacenter in Europe. Due to the recent re-branding of Otlet as ‘founding father of the Internet’, and ‘visionary inventor of Google on paper’, The Mundaneum has called international attention to his oeuvre. The Internet giant thankfully accepted the gift of posthumous roots, and adopted The Mundaneum in return.
‘The Internet on Paper’ traces various narrations of media in and around the work of Paul Otlet. It is a contribution in the context of Mondothèque, a platform for experiments by artists, archivists and activists concerned about the way knowledge is produced and distributed today. http://www.mondotheque.be
Femke Snelting is an artist/designer developing projects at the intersection of design, feminism and Free Software. She is a core member of the Brussels based association for arts and media, Constant, co-initiated the design/research team Open Source Publishing (OSP) and the Libre Graphics Research Unit. With delegates Jara Rocha, Seda Gürses and Miriyam Aouragh she takes part in the Darmstadt Delegation, assigned to explore techno-political and socio-emotional relationships between activist practice and tools.
Wednesday, 25 March 2015, 18:30, HKS
- HKS - 04/03/2015 18:30
- HKS - 18/03/2015 18:30
- HKS - 25/03/2015 18:30
Det er ledig 3 atelier ved Kunstnerverksteder cs55 Bergen.
- Nyutdannet atelier # 304, er 42 kvm. Leiepris 2015 er kr. 1.646.— minus husleiereduskjon satt til 14 % kr. 230.— endelig leiepris 1.416.— + strøm. Dette atelieret har doble dører.
- Nyutdannet atelier # 404, er 40 kvm. Leiepris 2015 er kr. 1.578.— minus husleiered. 14 % kr. 221.— endelig leiepris 1.357.— + strøm.
Atelierene for nyutdannete leies ut for ett år av gangen med mulighet for forlengelse inntil 2 år sammenlagt.
- Ledig atelier # 302 med 78 km i 3. etasje.78 kvm. Husleie kr. 5.868.— pr, mnd minus husleiereduksjon på (i år) 14 % kr. 822.— Totalt kr. 5.046.— + strøm.
Alle atelier har tilgang til wifi, vareheis, prosjektrom og fellesverksted i 2.etg. etter opplæring ved verkstedansvarlig.
Alle 3 atelierene er ledig fra 01.06.2015 og har søknadsfrist 1.april 2015
Søkes med digital portfolio i pdf form, evtl. webside, CV, motivasjon.
Søknaden sendes til styret i Kunstnerverksteder Cs55 ved firstname.lastname@example.org
For å kunne søke atelier for nyutdannete må du være utdannet billedkunstner/kunsthåndverker som avsluttet utdanningen for ikke mer enn 2 år siden.
Kunstnerverksteder cs55 er støttet av Bergen kommune og Hordaland fylkeskommune
Over the past few weeks we have received several questions regarding how to set up a Reaper project to work with first order ambisonic using the ATK for Reaper plugins.
Responding to this, Trond has have just published a screencast that helps explaining this.
Sixth International Symposium on
Music/Sonic Art: Practices and Theories
MuSA 2015 – Karlsruhe (IMWI)
25-28 June, 2015
Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe
FIRST CALL FOR PAPERS:
We are pleased to announce the Sixth International Symposium on Music and Sonic Art: Practices and Theories (MuSA 2015), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hit-karlsruhe.de/hfm-ka/imm/). MuSA 2015 is also supported by Middlesex University, London. The dates of the Symposium are 25-28 June, 2015.
Proposals for sessions and individual papers for the Sixth International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Symposium committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The Symposium language will be English. Previous themes and topics can be seen at: musa2012.zilmusic.com, musa2013.zilmusic.com, musa2014.zilmusic.com
THEME AND TOPICS:
The principal aim of MuSA 2015 is to advance interdisciplinary investigations in – as well as between – music and sonic art. Following the success of MuSA 2014 in opening up interdisciplinary debate on the role of embodied approaches, MuSA 2015 will continue to probe this research area through the Symposium theme: Exploring embodiment in music and sonic art.
We invite submissions on the following, and other related topics:
- Body movement and emergence of meaning;
- Embodied approaches to creativity;
- Kinematics and haptics as background for music and sonic art research;
- Gesture and expression;
- Methods for embodied analysis;
- Phenomenology of the performing body;
- The body within socio-cultural contexts of music and sonic art;
- Pedagogical contexts for embodied approaches to music and sonic art;
- The body in interpersonal sound-based communication;
- Ecological, biological, neuroscientific and evolutionary approaches to embodiment;
- Historical roots of embodied approaches in theory and practice;
- Technology and embodiment;
- Artificial intelligence and embodiment;
- Critical discourses of embodiment in practice and research;
- Embodied aesthetics;
- Embodiment in collaborative research;
Other topics that are in line with the Symposium’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.
In addition, MuSA 2015 will devote one day to the specific theme: Re-thinking the Musical Instrument
Within the thriving discipline of musical performance studies, there is a general tendency to speak of ‘the performer’ as an abstract category without taking into account the kind of musical instrument that mediates the act of music making and music as a temporally emergent, sounding phenomenon. In reality, different kinds of musical instruments involve different expressive means (and at times different expressive/artistic aims), engender different phenomenologies of performance making, and generate different kinds of performer identities. The nature of the embodied interaction with different instruments in composition and performance, and the expressive and communicative meanings that emerge as a result of such interaction constitute a largely unexplored research territory.
Some of the topics that will be explored include:
• The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
• The discourses that exist in relation to musical instruments in different genres, styles and traditions;
• The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
• Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
• Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
• Relationships between creativity in performance, nature of musical interpretation and musical instruments;
• The role of the musical instrument in the creation of musical identities;
We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.
Please submit an abstract of approximately 250-300 words as an e-mail attachment to email@example.com
Please specify whether you wish your abstract to be considered for the one-day ‘Re-thinking the musical instrument’ event.
As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Monday, 27 April 2015. Notification of acceptance will be sent by 8 May.
The Symposium fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).
If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the symposium committee:
Prof. Dr. Mine Doğantan-Dack (University of Oxford) –
Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – firstname.lastname@example.org
Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) – email@example.com
Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/ HfM-Karlsruhe) – firstname.lastname@example.org
Prof. Miroslav Spasov (Keele University, Music Department) – email@example.com
Dr. John Dack (Middlesex University, Art & Design / Science & Technology) – firstname.lastname@example.org
Adrian Palka (Coventry University) – email@example.com
Timothy P. Schmele (IMWI, Karlsruhe) – firstname.lastname@example.org
Administrative support: Gundi Rössler (IMWI, Karlsruhe) – email@example.com
After the success of the first two volumes of The OM Composer’s Book, a new call for contribution is open for The OM Composer’s Book .3.
Contributions to this volume should consist of 10-20 pages chapters providing the description of a musical work making use of computer-aided composition and OM, highlighting a personal approach to composition using computer tools.
Texts shall be written in English. LaTeX format preferred but MS Word or other standard text processing software formats accepted. It is encouraged to illustrate the discourse with high-quality screen captures and score excerpts.
In order to contribute, please send a chapter proposal (1-2 pages max.) to jean [dot] bresson [at] ircam [dot] fr.
There is no strict deadline for proposals but full texts will be expected by june 2015.
The last two weeks, Maia Urstad has been in BEKs sound studio, preparing for the Barents Spektakel. Radio Barents – a radio performance is an 8-channel musical piece for portable radios, where performers move around and among the audience, carrying the sound, to make an ever changing sound atmosphere.
[extract from the Barents Spektakel Program]
A radio performance by Maia Urstad (NO)
Saturday 11:00 – 12:00
Are you on FM or AM?
A kitchen-radio is the most accessible machine to travel in time and space. “Hello, this is Munich FM 90,3” Turn the wheel back and we are two hours further in Moscow. Spending time with a radio means to discover languages we`ve never heard, information we`ll never understand, voices we`ll never meet, discussions we’ll never join.
Who listens to FM and who prefers AM? Is a radio a one-sided information tool or is it used for two-way communication?
The audio and visual artist, Maia Urstad, travels all over the world to catch the sound of radios, transmitters, radio amateurs and operators. In combination with a special technique and 20 performers she presents a site-specific performance for the Norwegian-Russian borderland during Barents Spektakel 2015.
Radio Barents – a radio performance will be performed during the Visual Art Seminar. Open to the public.
Production: Pikene på Broen
Photo: Maia Urstad
- Thon Hotel, Kirkenes - 07/02/2015 10:00
Ensemble Schallfeld in cooperation with “Kulturzentrum bei den Minoriten” invites composers from all nationalities born in or after 1974 to send in pieces for ensemble and electronics.
Since 2013 Schallfeld has been active in Graz and Austria as a young ensemble and platform for the promotion of contemporary music by international composers, mostly of the younger generation. Beyond being a “traditional ensemble”, Schallfeld is active as a free artists’ collective, consisting of musicians with different backgrounds and interests. This leads to the great diversity of Schallfeld’s activities, ranging from music theatre to sound art, chamber music, improvisation and educational activities.
Deadline: 2015-04-01, for detailed terms see
Confirmed dates for our New Media and Aestetics Seminar hosted by HKS. Wednesday 4th, 18th and 25th March. More info coming up soon.
OpenMusic is a software tool for computer-aided composition. In follow up to a introduction workshop at BEK a year ago, two of the participants have been commissioned to compose small works or etudes. In this meetup Marcus Davidson and Jostein Stalheim will present the outcomes of their work, and reflect on the process of learning and using OpenMusic.
This meet-up is open to composers and anyone else interested in learning more about what OpenMusic can be used for, or get to know the work of Jostein Stalheim and Marcus Davidson.
Marcus Davidson is a Bergen based composer, currently focusing on music which reflects sounds from nature, often working with live recordings incorporated into his compositions.
Jostein Stalheim har skrevet musikk til teater, ballet, opera, orkestre, ensembler og en rekke solister, i tillegg til at han også arbeider med elektroakustisk musikk. Stalheim er også en internasjonalt anerkjent solist på akkordeon, og har spilt med en rekke orkestre i og utenfor Norden. Han har studert komposisjon og akkordeon i København, Helsinki og Oslo.
Stalheim er ansatt ved Griegakademiet, Høgskolen i Bergen der han underviser komposisjon.
Supported by Arts Council Norway and the Municipality of Bergen.Time and place:
- BEK - 30/01/2015 14:00
The Southbank Centre, London
8-11 April 2015
The School of Sound is about sound – as an art in itself and how it is used in the arts and media. We explore what sound does, how audiences listen.
The SOS is a place where you can raise your awareness of how audio production works, how it conveys information and emotion, how you can work with it.
For four days you’ll be immersed in a world of imagination, invention and innovation. Listening to presentations from a diversity of incredible talents, you will be able to disconnect from your day-to-day work to reflect on sound as something that is profoundly complex, entertaining and important.
The SOS provides a rare opportunity to hear and meet creatives from the highest levels of the arts and media, speaking in detail about how they think and work. And the SOS is not about just one area of sound production. It covers film, theatre, dance, games, installation, music and radio, to expand your thinking and increase your ability to work in diverse areas of media and the arts.
At the SOS you will mix with hundreds of like-minded people – professional practitioners, educators, artists and students – with whom you can network, exchange ideas and create collaborations.
SOS 2015 features John Akomfrah, Siobhan Davies, Peter Sellars, Gerhard Eckel, Pauline Oliveros, Imogen Stidworthy, Nicolas Becker, Kristian Eidnes Andersen and a special session on games sound. For full programme and registration details, go to
The Pixel Lab provides participants with an unrivalled understanding of how a strategic cross-platform approach to story development will help develop their projects, brands and audience base. We accept 20 producers with a project and 20 media professionals without from anywhere in the world.
Please help us spread the word about this exciting opportunity by sharing the following information with you networks. Full marketing copy and logo are attached.
Twitter: Engage audiences, use interactivity to expand IP, build brands & more @powertothepixel #ThePixelLab Deadline 26.3.15 http://bit.ly/1ByCI99
Facebook: Learn to engage audiences, use interactivity to expand IP, build brands & more @powertothepixel #ThePixelLab! Deadline to apply 26.3.15 http://bit.ly/1ByCI99
Linkedin: Learn to engage audiences, use interactivity to expand IP, build brands & more at Power to the Pixel’s The Pixel Lab! Deadline to apply 26.3.15 http://bit.ly/1ByCI99
For further questions regarding The Pixel Lab or cross-promotion suggestions, please feel free to contact me.
From everyone at PttP, thanks for you support!
A Norwegian artist group, InEpic, are invited to KOCHI – MUZIRIS Biennial in India, to participate in the current conversation about women’s rights. Here, different topics of feminism are treated with different artistic expressions, with exhibitions and seminars. One of the artists who are participating is Gitte Sætre. BEK has assisted her in the preparation of video material for the biennial.
Info in Norwegian:
Den norske kunstnergruppen InEpic, som består av kunstnerne Nina Grieg, Bo Magnus og Gitte Sætre, stiller ut sammen med den indiske kunstneren Hema Upadhyay under Kochi-Muziris Biennalen fra 24.januar til 1.mars 2015. Biennalen er den største mønstringen av samtidskunst i India. Kurator er Malin Barth. De presenterer sine egne individuelle kunstnerskap, men inviterer til dialog gjennom samarbeid med andre.
Gitte Sætre, som BEK har assistert, presenterer 7 verk fra video performance serien Woman Cleaning, hvor hun oppsøker steder/objekter/situasjoner som krever vår oppmerksomhet og utøver symbolske botsøvelser. For mer info om prosjektet hennes, besøk “gittesatre.no”:http//www.gittesatre.com
InEpics tidligere utstillinger viser til hvordan selv de minste gester kan spille opp mot kroppslige og psykologiske rammeverk og nedarvede strukturer, i en politisk og personlig kontekst. Det underliggende fokuset på kvinners valg, samvittighet og frihet som både politisk og personlig erfaring, har videre ført til en undersøkende kobling mellom feminisme og demokratisk tankesett. Siden etableringen av InEpic våren 2012, har gruppen gjennomført flere utstillinger og work-shops i Norge og utlandet, og publisert flere tekstproduksjoner.
Gruppens utstilling In which the smallest gesture becomes epic vil stilles ut i The Backyard Civilization Gallery, et kunstnerdrevet og ikke-kommersielt galleri i byen Kochi i delstaten Kerala i India. Utstillingens kurator er Malin Barth, direktør for Stiftelsen 3.14 i Bergen. Journalist og produsent Riyas Babu står ansvarlig for en workshop og et seminar i etterkant av åpningen, med flere ledende indiske kunstnere og forfattere og den norske kunstnergruppen.
We should argue that there is every reason to explore the locations that enable us to imagine the world otherwise (from the Curator´s statement).
The exhibition is supported by OCA, NBK, Bergen kommune, and the Norwegian Embassy in India.Time and place:
- Kochi, India - 24/01/2015 to 01/03/2015
Kjersti Sundland and Anne Bang Steinsvik’s installation Conjoin opens at Bergen Kjøtt on Thursday 22. of January. BEK has collaborated with the artists to develop solutions that utilize audio signals as triggers for light and video images. Programming by Stian Remvik.
Kjersti Sundland|Anne Bang-Steinsvik
In this site specific work, Kjersti Sundland and Anne Bang-Steinsvik is using real time audio and video processing as an interface connecting the interior and external surroundings of the building. Participation is explored through levels of technological invasion and feedback connecting audience, performer and the projected image.
Nora Adwan|Lisa Nøttseter
Nora Adwan is working with dancer Lisa Nøttseter on a live and screen based work. Recorded from several angles, Lisa moves between images of herself mapped out in the space.
There will be continuous performances throughout the evening, alternating between the 2 works, Conjoin and Follower.
The exhibition is supported by Funds for Artistic Research, Bergen academy of Art and Design.
Equipment, support and programming (Conjoin) by Stian Remvik, BEK – Bergen Centre for Electronic art.
- Bergen Kjøtt - 22/01/2015 20:00
- Bergen Kjøtt - 23/01/2015 20:00
Margrethe Brekke deltar på Vestlandsutstillingen 2015 med en tekstilinstallasjon av silkebannere samt videoen Håpet om Krisehåndtering, hvor en vestnorsk tekstilkunstner (tolket av Anne Marthe Dyvi) grubler over frykt, skyld og grunnlovens miljøparagraf §112, samt den vestnorske tekstilkunstens mulighet for håndtering av større og mindre kriser.
Videoens lydbilde blir preget av Maja Elliott’s komposisjoner for klavèr, og de karakteristiske interiørene i Kalfarlien 18 vil fungere som kulisser.
BEK har bistått med kamera- og opptaksutstyr.
We warmly invite you to the last day of this event. This Sunday (not Saturday!). It will be the first dry and even a bit sunny day in Bergen. We will screen all seven works starting at 5pm. There will be free wine, coffee and snacks. At 6pm there will a live reading accompanying Robyn Nesbitt’s video work. Come out, have a drink with us and give some support to the artists!
If on a winter’s night, a room is a public video screening program held over seven nights in the heart of winter. It features a series of seven short and silent video works by seven young norwegian and international artists – one artist video per night.
10 Jan. Opening Night @ 20:00While the subject matter ranges from natural phenomena to fictionalised objects to performative video, the works share a certain slowness and subtlety that requires a patient contemplative approach.
The works function as luminous backgrounds, with a slow and creeping build-up. They are subtly surreal, which engenders a shift in how one observes the real surrounding and the depicted space of the video. The eeriness and lightness of the video works encourage a folding back upon ourselves, and a folding back upon our own way of ‘looking’, offering conditions for interiorising subjective spaces into a ‘room of one’s own’.
10 Jan. Opening Night @ 20:00
All videos will be screened
11-17 Jan. @18:00
11 Jan. Icaro Zorbar (CO)
The Eve | 3:13 (loop)
12 Jan. Nora Joung (NO)
Ildebrann | 3:21 (loop)
13 Jan. Robyn Nesbitt (ZA)
A Viewing of the Moon | 4:00 (loop) |
live reading at 20:00
14 Jan. Finn Adrian Jorkjen (NO)
Lovesong | 3:45 (loop)
15 Jan. Sif Lina Ankergård (DK)
Even When | 2:30 (loop)
16 Jan. Kay Arne Kirkebø (NO)
Line Rhythm Verse 2 | 3:00 (loop)
17 Jan. Håkon Holm-Olsen (NO)
Åsted (Site) | 0:50 (loop)
18 Jan. Finnisage
All seven works to be screened | 17:00
live reading at 18:00
The program has generously been supported by NBK and BEK.Time and place:
- Vetrlidsallmenningen 27a - 10/01/2015 to 17/01/2015
- Vetrlidsallmenningen 27a - 18/01/2015 17:00
A new alpha release of Jamoma 0.6 is now available:
In our sound studio this week, it’s rehearsal time for Kvien & Sommer’s upcoming concert at Utmark. The preparations crystelize at Landmark, Bergen Kunsthall, Friday 5. Dec. at 22.00.
KVIEN & SOMMER – A collaborative project with Mari Kvien Brunvoll and Espen Sommer Eide
Molde born singer Mari Kvien Brunvoll has created a major ripple of excitement on the Norwegian jazz scene, for she is a genuine original in the spirit of artists like Sidsel Endressen, with a voice that immediately captivates. Her singular career path embraces projects for children and theatre, and her intensely personal music straddles jazz, electro pop and acoustic blues, making use of everything from loops and pedals to zithers and thumb pianos to add detail to her intimate, soulful sound.
Espen Sommer Eide is a musician and artist from Tromsø, Norway. Since the end of the 1990s the projects Alog (with Dag-Are Haugan) and Phonophani have been among the most prominent representatives of experimental electronic music from Norway, with a series of releases from the label Rune Grammofon. Live he uses elaborate setups of custom made instruments, hybrids combining electronic and acoustic elements.In addition to touring extensively with his musical projects, Eide also has produced a series of site-specific pieces and artworks and has been involved in a series of art and archive projects with various topics connected to the Barents and arctic regions of Northern Norway.Time and place:
- BEK - 01/12/2014 to 05/12/2014