Bergen Center for Electronic Arts

Syndicate content
Works in progress.
Updated: 6 hours 17 min ago

Gitte Sætre - Magic of Seven at 3,14

Fri, 08/19/2016 - 11:14

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

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

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

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

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

Art at Øyafestivalen in Oslo

Thu, 08/11/2016 - 14:59

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

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

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

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

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

Kunst på Øyafestivalen

Thu, 08/11/2016 - 14:59

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

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

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

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

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

<p>

Thu, 08/11/2016 - 14:59

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

Bergen Assembly 2016: September programme launch

Mon, 08/01/2016 - 17:33

Bergen Assembly 2016
September 1–October 1, 2016

Opening weekend: September 1–4

bergenassembly.no

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

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

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

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

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

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

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

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

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

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

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

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

The Atmospherics 5: Stop, Hey, Watch That Sound

Mon, 08/01/2016 - 16:01

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

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

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

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

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

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

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

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

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

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

Shades of Change

Mon, 08/01/2016 - 15:22

Ingeborg Annie Lindahl – Trond Lossius

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

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

 

Panorama shot while installing.

 

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

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

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

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

 

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

BEK supports the exhibition with equipment.

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

Interactive Installation M-Machine at Hiroshima International Animation Festival Japan

Sun, 07/31/2016 - 20:02

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

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

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

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

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

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

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

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

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

Ambisonic Toolkit for Reaper 1.0.0.b9

Sun, 07/24/2016 - 22:25

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

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

And two changes that breaks backwards compatibility:

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

For more info and download:

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

BEK at NIME 2016

Wed, 07/13/2016 - 22:37

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

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

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

https://vimeo.com/131047926

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

New video work by Magnhild Øen Nordahl

Mon, 07/04/2016 - 13:39

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

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

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

More info from HKS

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

Static Theatre - Those That Have Been Left Behind

Mon, 07/04/2016 - 13:26

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

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

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

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

Line Horneland: The sound in-between

Mon, 06/27/2016 - 08:37

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

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


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

http://www.linehorneland.no/

Last ned teksten her (111 Mb)

Sammendrag

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

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

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

Video and DSLR Basics with Gabriele Mariotti

Sat, 06/18/2016 - 15:58

A one afternoon workshop with filmmaker Gabriele Mariotti(IT) who will show the basics and everything there is to know about filming with a DSLR camera, 4k, Record sound and more

Friday 24th of June kl. 14:00
Bergen Senter for Elektronisk kunst

Garbriele Mariotti is a filmmaker that has done camerawork for videoclips and documentation of projects and exhibitions, such as the MU Artfoundation in Eindhoven

http://www.mu.nl/nl/tv

He is an expert on documentation of installations and video works.
Gabriel will show us the basics on the various ways to record art exhibitions, installations, in low light conditions and more handy tips and tricks.

The course is free of charge.

Please send email to marieke@bek.no if you want to join

Time and place:
  • BEK - 24/06/2016 14:00

Playful Interventions at Østre Hus for Lydkunst

Sat, 06/11/2016 - 15:39

On thursday 23. June, “Playful Interventions” will show sound installations & live performance revolving
around playful use of sound at Østre Hus for Lydkunst. Produced by BEK.

On the 23. of June, “Playful Interventions” will show both sound installation and live performances revolving around sound at Østre Hus for Lydkunst.

PLAYFUL INTERVENTIONS
23. JUNI
ØSTRE HUS FOR LYDKUNST – BERGEN

An evening with sound installations & live performance revolving
around playful use of sound at Østre Hus for Lydkunst.

LYDINSTALLASJONER:
-
Marieke Verbiesen
-Njål Leinan Clementsen

-Mattias Arvastsson

-Gabriel Martiotti

LIVE from 21:00
-
Tijs Ham

-Njål Leinan Clementsen

DJ:
Helene Rickhard

Food:
Dutch snacks!

FRA KL. 19:00

Sound installations
New soundinstallations by
Mattias Arvastsson, Marieke Verbiesen, & Njål Leinan Clementsen,
that revolve around playful use of sound.
 
Live Performance: Njål Clementsen
Njål Leinan Clementsen has been active in various bands, and makes soundinstallations. At Playful interventions he will do a combined installation / liveperformance centered around sound.

Live Performance: Tijs Ham
Tijs Hams performance ‘States’ investigates the balance between controlling or playing these processes and letting go. Allowing the complex structures to collapse into their own states of being. To let go of the steering wheel.
 
Videoworks: Gabriele Mariotti
Italian Gabriele Mariotti will document the evening and show some of his cinematic audiovisual works, short films & videoclips.

DJ: Helene Rickhard
DJ Helene Rickhard mixes vinyl records ranging everything from strange beats by artists
from the 80s, digitalo, neofunk and other heard or unheard of genre´s.
She regularly dj´s at Oslo´s “Club Cosmic”.

Time and place:
  • Oestre Hus for LYdkunst - 23/06/2016 to 24/06/2016

Albanian Pavilion at the Venice Architecture Biennale

Wed, 06/01/2016 - 13:25

I have left you the mountain presents ten new texts written by contemporary writers and thinkers on the architecture of displacement. These texts have been set to music and sung by some of the last remaining groups of Albanian iso-polyphonic singers, an art form now protected as “intangible cultural heritage” by UNESCO.

Pavilion sound design and programming by Peter Meanwell and Trond Lossius.

http://www.albanianpavilion.com/2016/

A living art form in step with generations of migration and transition, “singing migration” has been a core part of processing departure, longing, and return. The Albanian Pavilion is a space of collective listening, of “individuals in company.”

I Have Left You The Mountain initiates a conversation about the urbanism of displacement, projecting the Albanian case onto an international stage, with the express intention to transmit that dialogue and its speculations back into Albania.

Foto: Špela Volčič.

On the technical realisation

Performances have been captured as eight channel audio recordings with separate channels for each voice. Using eight speakers at the pavilion each of the voices is reproduced individually. Playback is controlled by a vinyl record player playing a special vinyl record containing timecode information. A Max patch interprets this information in order to control playback of the 8 channel tracks.

 

Commissioner
The Ministry of Culture of the Republic of Albania

Curators
Simon Battisti
Leah Whitman-Salkin
Åbäke

Sound design and technical consultation
Peter Meanwell
Trond Lossius

Furniture design
Max Lamb

Pavilion construction
Luigi D’Oro & Arguzia S.r.l.

Location
Arsenale (Room 5), Venice

Sponsors
Meyer Sound
BEK
Sigal Uniqa
Spring
AlbaRent
Savatours

Time and place:
  • Venice Architecture Biennale 2016 - 25/05/2016 to 27/11/2016

Ambisonic Toolkit for Reaper 1.0.0.b7

Mon, 05/23/2016 - 09:57

ATK for Reaper v.1.0.0 beta 7 is now available for download. This version improves the graphical user interfaces for a number of decorders. It introduce monitoring of decoded sound levels for a number of decoders: Stereo, Quadrophonic, 5_0, Pantophonic 2D and Periphonic 3D. Additionally it displays the channel configuration for these plugins, making it easier to get channel routing right. The new Periphonic 3D decoder decodes to two rings of speakers.

The new version can be downloaded here.

These additions are the outcome of a short-term residency and workshop that Trond Lossius had at SCRIME in Bordeaux last week. The GUIs for the decoders are inspired by user interfaces from HOALibrary for Max. Peak level metering is based on code by Phil Burke.

Ambisonics workshop ved SCRIME

Wed, 05/18/2016 - 07:55

As part of a short term residency at SCRIME Trond Lossius participates in a three day workshop on ambisonics and field recording. The workshop will be used to test out new ambisonic recording gear at SCRIME, field recordings and listening sessions, and offer an introduction to how to work with ambisonics in Reaper using the Ambisonic Toolkit.

SCRIME bridge science and the arts, and is organised in collaboration between Université de Bordeaux, CNRS, Bordeaux INP, Ministry of Culture and Communication , the City of Bordeaux and the Aquitaine County. It is administered by the Bordeaux Laboratory for Computer Science and affiliated with the Image and Sound team .

SCRIME activities range from scientific research to artistic creation , and includes education , dissemination of contemporary music and pedagogy in schools and universities . It is primarily a meeting place for researchers, artists and teachers, where everyone can exchange their knowledge, skills and expertise.

SCRIME is supported by the General Directorate of Artistic Creation of the Ministry of Culture and Communication.

Program

Tuesday 17/05

10-12.30 am
- introduction to the AETA 4MinX and SoundDevice 788T recorders, and to the SoundField microphone
- field recording in the park of the Haut-Carré (near the University)
- studio recording sessions (SCRIME – Maison d’Elise ?)

2-5 pm
- first listenings of the recorded material in the octophonic studio

Wednesday (Hemicyclia) – 18/05

10-12.30 am
- Calibration of the ambisonic setup (loudspeakers placement, software mappings)

2-5 pm
- Introduction to Reaper
- Introduction to the Ambisonic Toolkit for Reaper

Thursday (Hemicyclia) – 19/05

2-5 pm
- commented listening of the recordings
- spatialization with the ATK plugins

6.30 pm – opening of the SCRIME’s Arts/Sciences Cycles – open to public

- global presentation on ambisonics (Trond Lossius & Sylvain Marchand) – 1/2 hour
- listening of some selected materials recorded & spatialized during the workshop – 1/2 hour

7.30 pm – cocktail

Time and place:
  • SCRIME, Bordeaux - 17/05/2016 to 19/05/2016

Future DiverCities // announcement

Mon, 05/16/2016 - 12:43

Future DiverCities : artistic connection builds a creative union!
As a key partner of the international collaboration between 9 cultural organisations, BEK is proud to announce that “Future DiverCities” has received the official support of the European Commission as part of the Creative Europe Program.

The partnership, formed of organisations spread across 8 European countries, will spend the next four years exploring new models of artistic creation and distribution that promote cultural diversity.
What shall we do with the explosion of creativity brought to us by the new digital era? It has provided tools for interaction and collaboration, but at the same time global corporations have imposed their own rules and economy on the creative industries and public. The consequences? Vital elements of the cultural industry, such as diversity of artworks, fair remuneration for creators and visibility of independent or emerging artists, have suffered.

Future DiverCities will focus on these issues, working to build and develop new ways of thinking and experiencing culture as an alternative to mainstream, globalised attitudes.

The project will centre around the artistic domains of music, electronic art and urban culture.

Future DiverCities deeply believes in and aims to reinforce social bonds through the arts. We want to enable culture to reside in our pockets, on our screens, in our hearts, in front of our eyes and through our fingertips because culture is the most real and tangible part of Europe that connects and binds us.

Led by the UK not-for-profit organisation Superact, the nine partners have been working for years to bring this project to fruition. The organisations that will be sharing their collective experience and complementary skills comprise:

·Superact – Wellington, England
·1D Lab – Saint Etienne, Lyon & Paris, France
·Public Art Lab – Berlin, Germany
·CitiLab – Cornella, Spain
·Seconde Nature – Aix en Provence, France
·ANTI Festival – Kuopio, Finland
·BEK – Bergen, Norway
·Kontejner – Zagreb, Croatia
·Liepaja City Council – Latvia

Future DiverCities is proud to have been selected from 127 projects and see this as a major acknowledgement of the value of partners’ collective work to date.

Twitter: (at)FutureDCities
For more information:
Anne Marthe Dyvi, artistic developer
anne.marthe.dyvi(at)bek.no

Time and place:
  • BEK - 18/05/2016 to 18/06/2016