video feature
Buenos Aires
Sao Paulo
Brussels
Stavanger
Tampere
Junin / Buenos Aires
Today, is a typical hot summer day when Wilfried is making his acrobatic exercises to be at different places on the globe simultaneously – in Buenos Aires, Sao Paulo, Brussels, Stavanger and Tampere – many collaborations – individual and curatorial art works – Play IV Festival 2006 a collaboration with Silvio de Gracia from Junin/Buenos Aires , File Electronic Language Festival 2006, Hipersonica 2007, Mobile Institute 2007, Westcoast NuMusic and Electronic Art Festival 2004 and Strata Foundation in 2013. Wilfried is experimenting, in each collaboration is Wilfried trying something new – in order to avoid any repeating – he is experimenting with new aspects of curating, global networking and choosing new topics for his own videos and his curatorial work – that’s one meaning of all the different venues and collaborations. Wilfried would not like just to keep the status quo, but step continueously forward on not yet gone paths. Experimenting means always also to do things in vain, to fail – and one thing Wilfried finds really frustrating – that his attemps to install a really “creative” collaboration with different partners at different places are not successful. Wilfried is going always too many steps ahead, so that his potential partners cannot or would not like to follow him. So, what remains possible is more than limited – keeping the status quo – thus there is no future in it, at least from Wilfried’s point of view. The reason why so many initiatives stop after a promissing beginning, has sometimes to do with a lack of funding, but mostly with a lack of imagination and willing to take risks. Most professional activities have rather the state of being a “hobby”. Most people are too much focussed on themselves instead of open up themselves for new ideas and new fields to enter.
PLAY IV Video Art Festival Buenos Aires/Argentina 24-27 August 2006
Unexpectedly real
Curated by Agricola de Cologne for
Play Video Art Festival Junin/Buenos Aires (Argentina)
25-27 August 2006
Daniel LoIacono (GE) – Digital Snapshots 2’30’’
Agricola de Cologne (GE) – House of tomorrow – 3’00’’
J.G. Periot + Tom de Pekin (France) – Devil Inside – 2’50’’
Li Hyung Kim (South Korea) 3:34 – Women. World
Alla Girik and Oksana Shatalova (Kazakhstan) – Warning! Women – 3’12’’
Rafael Alcala (Puerto Rico) – Smoked – 3:00
Joao Paulo Simoes (Portugal) – Take.This.Turn – 5’43’’
Unnur A. Einarsdottir (Iceland) – Toilet – 5’00’’
Agricola de Cologne (GE) – Evolution – Involution – 10’00’’
Curatorial statement
“Unexpectedly real” refers to different meanings, states and definitions of reality. The 10 videos selected and curated by Agricola de Cologne from the base of VideoChannel, a project environment dealing with the subject of “memory & identity”, approach the “real” and the “reality” from different artistic point of views. The viewer becomes confused as the limits between the “objective” and the “subjective” become more and more vague changing continuously their values. The technological possibilities of the medium “digital video” enforce and encourage the artists to manipulate what is generally recognized as the “real” and give the classical theme in art which is exploring the different states of reality a new dimension. – 9 artists surprise the audience with these 10 films.
Sao Paulo – Paulista Avenue
*FILE – Electronic Language Festival Sao Paulo – 25/08 – 05/09 2006
Message from Behind A Wall
Message from Behind a Wall, 2005, 10:00
The segregation wall in Palestine is a fact. In November 2004, an artistic action against the wall ended, taking place at six different places in Palestine where walls were under construction, initiated by Palestine artists by inviting artists from different countries to paint an artistic message on the concrete.
When Agricola de Cologne was in Bethlehem in February 2005, he visited several places where the Israeli were erecting the wall. The part of the wall he was filming, is situated in opposite of the AIDA refugee camp (UN), and was at that time a temporary playground for children. And these children made their own contribution to the huge wall paintings.
“Message from behind a Wall”is transporting different messages, but the main message represents the action of children’s innocence.
The moving picture is a unique document of the day of 17 February 2005. Meanwhile, the construction of the wall in Bethlehem is since long time completed, and the area around the wall does not motivate children to use it further as a playground.
FILE Hipersonic Festival Sao Paulo/Brazil – 13 August – 9 September 2007
SoundLab IV – Memoryscapes (part III)
m’scape IX
includes these artists—>
Andreja Andric (Serbia/Italy)
Rich Bitting (USA)
Bibi Calderaro (USA)
Chelsea Cargill (UK)
Matt Dotson (USA)
Alex Hetherington (UK)
Stephanie Loveless (UK)
Jeff Morris (USA)
Luz María Sánchez (Mexico)
Peter V. Swendsen (USA)
JEFF THOMPSON (USA)
unclejim – Goard, David & Robinson, Rob (UK)
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Title: 1.Tuesday, February 28th, 19:10:22 2006 2006, 5min
2006, 5min
In recent years I’ve liked to work with the sound of a music box. It is gentle and tranquilizing, yet, even in a loud bar atmosphere it can be heard clearly, due to its high pitch and bright sound color.
Lullaby Generator is a program for MS-DOS/Windows that generates music for music box. The mood, tonality and phrasing changes from piece to piece, thus forming a unique cycle of music pieces. No input is required. Just start the program and it will create a final wav file with a new composition. As calculating the waveform from 20-voice polyphony is a complex task, the process might take several minutes.
Title: Toaster, Knife & Percolator from The Breakfast Suite
Toaster 2006, 3:52
The Breakfast Suite is an exploration of the micro-acoustic sound world of some humble kitchen appliances. These common but little-regarded kitchen appliances are an all-but-ignored part of the morning breakfast ritual. As we wait each morning in Pavlovian anticipation while our eggs sizzle to sunrise perfection and our coffee is perking to its savory conclusion, do our minds register the fantastic soundscapes that are being revealed? If a crumb falls in a toaster and no one is there to hear it does it make a sound?
We Twenty-first Century humans have come to rely primarily on our sense of sight, while our brains function as earlids to filter out “noise” and process only that sound we deem necessary as information. I invite you to close your eyes, open your mind, and listen to the world through fresh ears.
artist biography
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Title: In-Deed 2005. 8:54 minutes.
IN-DEED is a collage of words and sentences belonging to the Lenape, Choctaw and Navajo languages, extracted from teach-yourself tapes. Mixed with it are some of the English translations to these sentences which I turned to chanting.
The title of this piece is a pun composed by using a dash between the words IN and DEED. It speaks of a transaction whose translation, as between languages, is always not pure, always hiding another layer of meaning, making uncertain what the outcome of that transaction may be.
IN-DEED is both an assertion and a negation, as in the fact that an almost extint language is recorded for the purpose of being taught in the future to English speakers, although its signified elements might be already lost.
With this piece I would like to raise questions concerning identity and language, such as: Is it possible to speak a language whose culture is gone?
When is a language considered dead? How does a second language interfere or influence in the formation of identity?
Title: st mary 2006, 3:04
In St Mary I recorded my own voice improvising vocal sounds that are sung with delay and stereo panning effects. Vocal phrases emerge almost by accident and are alternately inchoate and complete – only to be obscured by breath, vocal and static sound. Throughout the piece the same musical motifs are repeated but never emerge predictably; they are always posited differently within the overall structure of sound. Overall, the piece concerns the unreliable nature of memory and its ability to obscure and embellish.
artist biography
Interview for SIP – SoundLAB Interview project
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Title: Memory 2005, 9:34
Title: House/Lights Kate Valk Radio 2006, 2.00 mins
This sound work is an element in my research on the theater production House/Lights by New York’s The Wooster Group. This work combines the libretto from Gertrude Stein’s Dr Faustus Lights the Lights with the text from Joseph Mawra’s film Olga’s House of Shame. I have been systematically connecting this work with the biography of Raphael Carlos Gordon, a Scot
and one-time Mayor of Madrid, who briefly ruled Spain during the Franco era in Spain and to the Wardhouse Estate, the seat of the Gordon family, in Aberdeenshire, Scotland. I have been researching the aristocracy of Spain and to laws and regulations that supported them. This sound work employs a combining of texts using a public radio broadcast where Kate Valk of the
Wooster Group describes some of their working methods. This is accompanied by a stage direction from Gertrude Stein’s original libretto, a tone that mimics a chorus. In Stein’s modernist libretto Faustus sells his soul for electricity. I am interested in notions of radical theater, behaviors intrinsic to making performance, theater, art and mapping the real with the
fictional. In this work I want to establish a correspondence to the memory of theater, the memory of identities, the memory of meaning.
artist biography
Interview for SIP – SoundLAB Interview project
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Titles: “when you go” (5:00), 2006
“When You Go” and “Trying” are two from series of five short sound pieces based on instrumental compositions recorded in an empty house in my hometown (Montreal, Canada). These recordings were brought into a sound-processing environment with the intention of discovering additional sonic material through their manipulation with relatively simple digital processing tools. I am interested in this mining of a sound source for the sonic, musical and
affective material within it — trying not so much to take the original sounds to new places, as to make them even more themselves. Smaller sounds (floorboard creaks, breath, piano groans) are privileged, and become an intrinsic part of the composition. The pieces are emotionally melancholic, as were the original instrumental compositions, and this emotional state is also mined, stretched — hopefully — to a point of transcendence.
artist biography
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Titles: 1. StillMotion 2004 — 5’00”
StillMotion:
All source sounds have been recorded during an average day in the lives of different people. In performance, the sound clips are fractured, so that the treble, middle, and bass frequencies of the sound act as three facets of a flexible beat pattern that articulates time. As they are played, the sounds travel toward, past, and away from the observer independently, causing their speed and pitch to be warped in time and space. The result is a texture of fragmented scenes, woven together, from multiple and mobile points of view in time and space, presenting the sound events as ephemeral strands of instants in time. StillMotion explores the ordinary sublime: on the one hand the impossibility of recording the everyday (as soon as it is marked, it is elevated in some way), and the impossibility of recording a performance (as soon as it is recorded it is a frozen text).StillMotion was originally created for a collaboration with guest choreographers Rosane Chamecki and Andrea Lerner, and the dance and visual arts departments of Texas Woman’s University. Photographs and sounds were taken of the dancers acting out an average day in their lives. The photos were used as a basis for the choreography, and the music, choreography and set design grew together organically. The performance (January 31, 2004) consisted of dance depicting functions or feelings captured in the photos, stylized versions of photos on scrims hanging within space (sometimes invading the dance space), and this music, from processed sounds of the “average day.”
Harmonies (They Spin):
The title is an anagram of “Riemann Hypothesis,” one of seven mathematical mysteries that are part of the Millennium Problem challenge (offering a $1 million prize for a solution). It suggests that there is an underlying order to the distribution of prime numbers, which otherwise seems to be unpredictable. In a similar spirit, “Harmonies (They Spin)” conjectures an underlying order to the seemingly ungraspable or irreconcilable. The counterpoint of sound and image presents an interaction between the attainable and the elusive, the harmonious and the dissonant. Binary oppositions are established, including noisy versus pitched timbres and regular pulses versus freely sweeping gestures, to explore the stable and unstable qualities of each when juxtaposed in various ways, approaching or diverging from a common center.
Tappatappatappa:
This performance was created live by the composer tapping on a microphone and improvising with custom software. In a complex system of feedback and self-imitation, complex textures and gestures are built up from a small simple sound of being alone.
artist biography
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Title: 2487 year of production: 2006
“Spoken names sound from spare, low-mounted speakers in 2487. A role-call of absent persons, the installation records 2,487 of the estimated 8,000 who have died while trying to traverse into the United States from Mexico since 1993. Like the border, this list is not exclusive. It reflects the breadth of Latin America’s poverty-driven exodus, including old and young, male and female, and an ethnic spectrum of Mexican-nationals as well as other foreign citizens. (…) Written specifically for 2487, [a MAX/MSP] program raises name after name out of silence and into organic arrangement. This act of calling, basic but defining, restores these lost individuals to the present. Overlapping in time the names become forceful together, a symbol of common escape and shared fate.”
Kurt Dominick Mueller
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.artist biography
Interview for SIP – SoundLAB Interview project
Title: “Little Girl Lost” 2003, 12 minutes
“As daughters we possess a sense of our mothers that is physical. There are parts of her in us—the sound of her voice, similar facial expressions, maybe even the same life choices. What do we find when we mine these aspects of our mothers from within us and what of ourselves gets lost.” – Mary Carbonara, choreographer for Little Girl Lost The score for Little Girl Lost is based on many hours of interview recordings made by the composer. These recordings were edited to their most focused and basic elements before being layered and arranged. Additional text came from stories written by the dancers of the piece. Violin recordings were also made and much of the material results from similar processes being applied to the text and violin. The live violin part straddles the worlds present in the piece, sometimes driving the rhythms, sometimes providing melodic material, and sometimes merging with the pre-recorded violin through the use of live processing. The music seeks to provide both internal and external dialogue for the performers. Special thanks to violinist, Rodica Filipoi.
Title: “Performance with Toys” 2006, 04’ 08
Created during an artists’ residency at Elsewhere, a former thrift store in Greensboro, North Carolina USA. The piece was created using contact microphones and the signal-processed sounds of toys found within the store. As the thesis for my stay at the residency, I attempted to draw out the lives of the former owners of the objects left in the store. By rubbing, moving, and manipulating the toys, sounds are pulled from them and layering, forming a soundscape that bridges the past and present, memory and tactility.
artist biography
Interview for SIP – SoundLAB Interview project
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Goard, David & Robinson, Rob
Titles: 1. in a vertical city 2006 – 3.05
This piece is intended to evoke memories and emotions related to the more unsettling aspects of high-rise city life. Menace is implied by the insistent rhythm that provides the backdrop for the track. The rhythm is broken by interjections – of unidentifiable sounds and disembodied speech – insinuating and emphasising a sense of displacement.
gesicht describes a fleeting moment in time – a state of semi consciousness, immediately after a serious accident for example, when one half of the brain struggles to perceive immediate surroundings – faces looming, the sound of breathing etc – whilst another part of oneself attempts to restore a sense of personal identity with thoughts of home and loved ones.
artist biography
Interview for SIP – SoundLAB Interview project
m’scape X
includes following artists—>
N.B. Aldrich & Zach Poff (USA)
Arcanum – Alan Lechusza (USA)
Back Ted N-Ted aka Ryan Breen (USA)
Becoming Animal (~)
Martin John Callanan (UK)
hp stonji aka Hans Platzgumer & Jens Döring (GER/Austria)
Panayiotis A. KOKORAS (Greece)
Peter Prautzsch (Germany)
Rovar17 (Hungary)
Jake Whittaker (UK)
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Title: The Baltic Sea (2004), 4’33”
The Baltic Sea (2004) was created as part of the performance piece Variatsioonid, by MAP Intermedia, during a residency at Polli Talu Arts Center in Vatla, Estonia. The audio components were recorded during our stay there. The mix is done in real-time during the performance, generated by a computer program that monitors a video, also of the Baltic Sea (which we shot while there as well), which is used as the backdrop for this section of the performance. The computer program uses information gathered from the activity of the pixels on the screen to make varying decisions about how to mix the different audio tracks. This version is taken from the FOH mix desk of a performance at the Stonington Opera House in Stonington, Maine, USA, in September, 2004.
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N.B.Aldrich
artist biography
Zach Poff
artist biography
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Titles: 1. Alan Lechusza composition 2004/05 (running time 6 minutes)
Work for Electric Cello and Processed Woodwinds: Sounds are stretched through a turbulent array of procedures and strategies etching toward an imagined ceiling. Sounds fall apart as quickly as they are erected only to be realized within their dynamic soundspan.
Work for Saxophone and Electronics: Minimal complexity embracing pressure points along a continuum of techniques. The saxophone revisited in an electronic world not so far from it’s
acoustic cousin.
Titles: 1. Emo Bar 2005, 3:37
Emo Bar is an attempt to arrange sporadic sounds and sample into a linear and tonally correct
composition incorporating original poetry.
Sorted and Oriented uses digital processing and New York Subway Recordings to disguise the voice of the artist.
Casio Song is a stripped down attempt to create a melodically interesting composition incorporating spoken word digital effects and an early eighties casiotone keyboard.
artist biography
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Titles. 1.”Like Water in Water” 2006, 3:36
“A drop in the ocean”
“As the water gets warmer our iceberg gets smaller.”
“I tried to understand their language better. Without having recourse to mine. They were the longest, loveliest days of all the year. “
artist biography
Interview for SIP – SoundLAB Interview project
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Titles: 1. 041209-032004, 4.14
Audio originally released by MirakelMusik (Sweden), and online. Constructed from intercepted satellite communications in Latvia. Added to the SONUS online archive, Canada, in September 2005.
041209-07 was performed on February 9, 2006 at ÉuCuE (Électroacoustiques Université Concordia University Electroacoustics) 2005-2006 Series XXIV, Oscar Peterson Concert Hall, Concordia University, Canada. A 20 speaker sound projection sonore was used.
As part of the FRAMED Broadcasts, 041209 was played in full, with additional previously unreleased tracks, on Resonance 104.4fm: 23, 24, 25 March 2006 between 1-7am, and 24 and 30 March 2006 between 7-8pm.
artist biography
Interview for SIP – SoundLAB Interview project
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Title: piano expeditions, 2min51s, 2005
Hp.Stonji’s music speaks instead of it being spoken. While the duo’s sounds were purely digital on their first releases “Metic” and “Melaina Cholé”, they now introduced classic analouge instruments to their sounddesigns: a concert piano, a church organ and a classical guitar. Whereas Freidrich Gulda’s favourite instrument apparently turned out to be a japanese digital piano, hpstonji now use the warmth and complexity of the sounds of a real piano instead. They transform it into the cold, abstract digital world. This makes the ping-pong play of their numeric encodings suddenly become something transparent, something seizable which finally is vanishing into non-codeable patterns. The analouge sound travels to the digital wastebin and its potential and inspiration that slumbers at the binary edges of the data. In Hp.Stonjis laptops molecular chains of sound-stuttering organise new languages. They make new kinds of sound-statements and sound-asthetics. They create multi-dimensional listening: sounds that bend their own ranges. Their sounds and beats move ahead and back between the beauty of analouge tonality and their mutations and variations. In most parts the root of sound remains recognizable. And always it remains something else: pop music. pop music for advanced listeners that is, but pop. Aural stretchings, bendings and breakings of what we are used to hear. And just like the music, along with it travel their visuals: short films and clips and stills by Munich-based videoartist Georg Gaigl. They also started out in the real world and eventually collapsed in outer reamls. Two films are simultaneously projected onto the laptop cases of the musicians, as they hide behind them. As they are merely projections on the backs of their powerbooks.
Whatever is real and what isn’t: Hp.Stonji’s music is.
And do remember what R.A. Wilson said: There ain’t such thing as water. It’s just melted ice!
Title: Anechoic Spin (2003-2004) for tape, Duration 5’
The life of the piece began in York, England in August 2003, where most of the sound material recorded at the anechoic chamber at the University of York. A couple of months later I returned back to Greece after a long stay in England and I restarted to work on the material at my personal home studio. However, a new move stopped me again from its development. Finally, everything came together one year later during the summer of 2004 where the piece finished at the Mastering Studio of the Department of Music Technology and Acoustics in Rethimno, Crete.
Having the luxury to work without deadlines and on a non real-time environment I tried to refine and control the finniest sound detail. I tried to create a kind of virtuosity of the medium. The sound material, not easily
recognized most of the time, undergoes a rather simple transformation in terms of sound processing using editing tools such as hard-limiting, maximizers, cut n paste, dynamic envelope changes, time stretches, and binaural spatialization.
The work is dedicated to the composer Sungji Hong. – Panayiotis Kokoras, Rethimno August 2004.
artist biography
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title: of salt and water (version2, 2006)
artist biography
Interview for SIP – SoundLAB Interview project
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Titles: I. Felhõk – Gyilkos Bába Verzió
Clouds – Murder Midvife version
2005, 20:13
Ultrahang Fest, Budapest, 2005
No More Pain 2005, 3:58
Havizaj, Budapest, 2005
artist biography
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Titles: 1. Evidence of Activity 2006, 8min
This work uses an improvised stylus on a displaced tone arm from a found HiFi (part of a Pro-line HiFi system). The Tone arm was adapted to be allowed freedom to move onto an adjacent turntable or to play other objects around the studio. The stylus is crudely made, having two points of hard wire taped to the pickup headshell. The sounds are generated by leaving the tone arm on an adjacent record (The World of Johann Strauss) while a nearby printer printing a document shakes the table vibrating the tone arm creating the work. The sounds are amplified and through a found Genexxa mixer and are effected by the built in echo effect.
An early experimental work using two turntables with improvised adapted styli, one a staple the other a more flexible two pointed piece of wire.
Several ‘Dansette’ style record players combine loops from different classic love songs. The recording has a particular sound owing to the fact that there was no mixer used, the turntables were arranged in an arc on the floor around an old Sony microphone. The internal speakers were used while the volumes are adjusted individually.
General statement
All my work uses found objects. My aim is to use them as much as is possible, in the state in which they are found. The problems leading to their being discarded being an important part of the composing process. Any repairs carried out are basic and merely to achieve some sound production. All work is then produced live without headphones using randomly selected loops from often randomly selected records. By making work in this way I hope to reassess the nature of the objects and their ‘useful’ life, explore notions of musical consistency and examine the ontology of recorded sound.
artist biography
Interview for SIP – SoundLAB Interview project
m’scape XI
includes following artists—>
Mauro Arrighi (Italy)
Michael Beijer (Netherlands)
Catherine Clover (UK)
Scott F. Hall (USA)
Juan Kasari (Finland)
Sean O’Neill (UK)
Dawn Salvia USA)
SonicTrain
(Koji Kawai, Rui Ogawa, and Kenya Kawaguchi) (Japan)
Duncan Whitley (USA)
Simon Whetham (UK)
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1. Sensible Buildings, 3:37
Memory can be considered also in terms of perception of time. We tend to think about the feelings that living beings manifest. I try to imagine what kind of emotional states the other objects that surround us could experience. Are houses sensitive? Are buildings watching us? Maybe they can remember many things and thus feel empathy for us. In addition: how can buildings communicate with each other? If we accept that humans use their physical form to do so, then I would suggest that edifices could use their structures instead.
The entire building becomes a projective surface, on which images flow on the walls.
This work deals with daily activities that occur within every apartment such as cooking, washing, listening to music and so on. All these moments are fragments of individual identities. These pieces are not only the memories of the subject in question, but are also those of the potential viewer.
Since the behaviors occur in different places and at different times they cannot be perceived by the human viewer simultaneously, but a computer can see, record and represent all these circumstances together.
Methodology
With the consent of the inhabitants of different flats, I will record them going about their daily household activities at moments when they are unaware of being recorded. Those recorded moments will then be divided into smaller pieces and elaborated during the performance. There will be as many movies projected simultaneously during the performance as there are people recorded. This is fundamental in giving the spectator a sense of contemporaneousness.
Each movie will be sliced, looped and time-manipulated in real time to create the soundtrack. The music will be the result of the combination of fragments of spoken words, ambient noise and background music. Basically, this music is made of identities and memories.
The work is site-specific: the live recording will be made in places that in someway related, in space and time, to the event.
artist biography
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1. NNN 2005; 09’57:
NNN, INRI2INRI & 0029 all form part of a series called Error, which investigates error as a guiding principle in human memory and identity. The online text In Said City may be seen as a running commentary to the Error series.
Title: Extract 01 2006, 5’11”
This sound work is a piece based on the lift shaft and stairwell of the Melbourne Town Hall, the centre of civic power for the city of Melbourne. The particular site of the stairs and lift were chosen specifically for their transitional and apparently peripheral nature. Little time is spent here yet it is a vital link within the building and is constantly in use. The work engages with ideas surrounding transition, change, and flux.
artist biography
Interview for SIP – SoundLAB Interview project
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Title: 1. Ear Shark 0:28, 2006.
Ear Shark (Statement for this work): A very odd bunch of sounds indeed carefully coaxed in one take out of an ordinary four-string electric bass, pedal effects, and a 1 mm thick pick.
Flyover (Statement for this work): Subsonic rumblings in stereo captured in one take. I created this piece using an ordinary four-string electric bass, pedal effects, and a 1 mm thick pick.
Electric Tromba Marina (Statement for this work): This work was created by me in one take using a four-string electric bass unusually tuned to the usual low E and E one octave higher. I concentrated on one of the two low E strings with a violin bow played near the top nut while my left index finger sought out harmonics on the same string. Occasionally, I drew the bow across all four strings, but often the unplayed 2nd, 3rd, and 4th strings rang out merely via sympathetic vibration.
artist biography
Interview for SIP – SoundLAB Interview project
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Titles: 1.Drive
Both songs are improvised works, analog effects, 2 guitars, live drums.
These songs included: 80juan80 (guitar, effects, computer), Lari Koppinen (drums) Ville Koppinen (Guitar
artist biography
Interview for SIP – SoundLAB Interview project
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Title: BTK 2006 – 3:08
This piece attempts to reminisce upon the sonic movements of Bangkok Thailand, a city consumed with a rich, swirling soundscape, a mixture of both modern and ancient. My impressions of the city, its people and culture, are preserved in small part through the binaural recordings I took during my three month stay. I used excerpts of these recordings, the voices/street noises/ambience, to recreate the sense of motion experienced while surrounded by Bangkok’s endless pace. The sounds were processed with extreme transposition and layered to produce evolving patterns.
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Title 1. 1201AM (9mins45s) 2005
made from my voice saying ‘There is nothing you can do’
recorded from electrical devices then cut copy and filtered beyond recognition.
(Koji Kawai, Rui Ogawa, and Kenya Kawaguchi)
Title: Deep Ecological Music (2006), 4’30” (3,6M)
Deep Ecological Music is expressing Japanese traditional soundscape. And It consists of three elements, Such as White Noise, Shamisen sound (a Japanese traditional instrument like guiter),
and Sisiodosi sound (a Japanese traditional sound object like metronome). Shamisen sound protects man from white noise as nature wonder. Sisiodosi exists in the boundary of white noise as the exterior and Shamisen sound as an inside, and comes and goes between them . When sonic energy reaches the climax, natural contingency and man’s vitality are synthesis and are generated in the world. That is, Deep Ecological Music shows the symbiosis of man and nature.
Titles: Excerpts from “My Only City – The Sounds of the West Terrace” 2004
1. CovLeic01, 2min06
My Only City – The Sounds of the West Terrace is a sound and new media project in development, which focuses on the supporters of Coventry City Football Club (CCFC) during the final 10 matches at their Highfield Road stadium. Highfield Road closed its doors in 2005, having been ‘home’ to City supporters for 106 years.
The project aims towards a searchable audio archive, comprising some 500 minutes of binaural audio recorded at matches from within the stadiums much loved ‘West Terrace’. The My Only City archive documents a roller-coaster final season at Highfield Road, in which CCFC avoided relegation to the First Division on the eve of the move to a multi-million pound new arena.
My Only City combines elements of phonography, oral history, new media, and sound as a spatial art form, in a public artwork with a strong documentary bias. The project focuses not on the football club or on the stadium itself, but rather on the supporters and how they articulate their relationships to this place.
The archive subtly explores a semiotics of football crowd sound and its collective vocalisations (often referred to, dismissively, as “noise”). By examining and deconstructing the soundscapes of football stadia, the archive reveals the complexities of the language of football crowd sound, and illuminates some of the meanings conveyed by it.
The audio clips submitted for SoundLab IV were recorded at a match against local rivals Leicester City, on 16 October 2004.
artist biography
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_01. jokulsarlon_introduction (4:22)
water drips from a huge iceberg into the lake at jokulsarlon, making musical sounds – the water runs from the lake – the glacier creaks and breaks
the sound of a cello followed by a train, caused by the gangplank in track 08
_03. route1_engine (2:00) – unfortunately, to get to the remote spots we visited, you need transport – the 4×4 was invaluable, and part of the team
artist biography
Interview for SIP – SoundLAB Interview project
m’scape XII
includes following artists—>
Chris Bors (USA)
Fernand Fernandez – Thomas Michalak (France)
Flow Ir In (USA)
David Kasdorf (USA)
Kazuo Kawasumi (Japan)
Gregory Lasserre, & Anais met den Ancxt (France)
Les Riches Douaniers (France)
Wolfgang Peter Menzel (Sweden)
Marco Puccini (OTO) + virgilio VJ (Italy)
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Title: That’s What PhD’s Call Letters 2003, 2:29
(from the audio cd Love Letters Greatest Hits, Vol. 1)
Love Letters Greatest Hits, Vol. 1 is a 46 minutes audio CD featuring me reading aloud ten of the best love letters out of seventy-six sent to me by a former girlfriend. This is the first track on the CD.
artist biography
Interview for SIP Interview project
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Title: Elemant Phan
date: 2005/2006 ( in constant evolution )
running time: live performance, between 5 and 15 mn
Description of the process:
It all starts with nothing. Thomas Michalak’s computer’s material is Fernand Fernandez’s voice. It is the starting element, that will be transformed and reconfigured. The collaboration evolves like a growing structure made of spasmatic and spited words struggling with the texturized process. The two performers mix together through a sound improvitation beyond voice texture. Fernand Fernandez has a dark creature-controller stuck to his arm, which enables him to pick consonants, vowels and pieces of words. He uses it as a random partition. The process is in a real-time performance played live. Elemant phan has been performed twice in the past.
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Titles: alien nursery (CD remix)
these three tracks compose my ‘alien trilogy’. i began with a scientific theory – that of beat production in focused beams of off frequency energy, useful for generating localised low fequency oscillations for, say, a hyperspace transmitter. i used Cubase to run a series of looped midi sine waves (at a range of frequencies), then ran that as a controller for a chaotically resonant system built in NI’s generator. the instrument was designed to create key beat frequencies near and around neurophysiologically important landmarks – 6Hz, 40Hz, 16kHz etc.
i then ran the software and fine tuned the parameters until i could feel clear bodily responeses to the sounds – a ball rolling through my teeth, my leg being stroked, etc. then, i meditated and played a midi keyboard loaded with samples, generated from scratch. I made unexpected contact with an alien race, and with them, recorded these tunes. the first, nursery, is a basic primer in their language, listen to it three times over headphones while dropping off to sleep. the second, hypnosis, prepares the human nervous system to accept a visitor. the third, lover, puts out a call for contact.
artist biography
Interview for SIP – SoundLAB Interview Project
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Titles: 1. What A Friend
2006, digital audio, rt: 1m:35s
What a Friend hearkens back to a boyhood on the prairie, the seeming freedom of endless rural vistas in continuous conflict with isolation and an indigent community’s harsh conception of God and Salvation.
2006, digital audio, rt: 3m:06s.
The piece, simply a voice, a fragment of a developing body of work, reflects a single aspect of the gradual breakdown of stability in the lives of my family and myself. Seemingly compassionate at first, the voice turns cajoling, manipulative, demanding, and ultimately disturbing.
2005, digital audio, rt: 3m:06s.
Smile (Just Breathe), an ongoing series of audio and video works, is an attempt at immediacy, making work in the here and now, a more direct expression of self. We all perform and I enjoy it as long as I can do it. But it is at the point where performance breaks down, where the internal and the external begin to overlap, when the smiling stops and things become real, that it becomes interesting. When all that’s left is to keep breathing which, at the very least, is a way of moving forward. This unmasking is what Smile… is about.
artist biography
Interview for SIP – SoundLAB Interview Project
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Titles: Quartet now 2006, 6 min 4 sec
In Quartet now, the artist expresses his memories as sound by arranging four separate works as a quartet ensemble. The running time of each piece is 1 minute and 2 minutes for a quartet ensemble, although the total running time could be longer by continuing the refrain.
The first movement is construed as a heartbeats combined with subliminal sounds from nature such as drops of water or streams. The heartbeats might be his mother’s as vibrated to him in her womb and the subliminal sounds might be coming from her body fluid. The second movement is expressed by a violin, guitar, contrabass, and percussion also imbued with subliminal nature sounds, which might come from all of his profound memories. Vocal sounds in the third movement might be a first voice which vibrated his ear drum. In the fourth movement, the vibraphone with subliminal sound reverberates in triangle tone, which the artist feels is a universal harmony with which to communicate with the universe.
Quartet now was composed and edited by the artist and the music was performed by New York-based musicians.
Glass breaking sound wakes up the artist’s memory like in flashback, which links to a profound relationship between people and Glass. The artist feels that the physical features of Glass—hard, brittle, transparent and reflective—brings in the metaphysical which invites people to a intangible mysterious world.
The sound piece belongs to a series of his Glass work, which was performed by vibrating huge Glass window in the Royal Library building in Copenhagen. Glassophy is the individual sound work but also could be represented by and with vibrating Glass which is a reality of the sound. The artist has worked for this series since 2003.
artist biography
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Title: SpherAleas
is made of a half-spherical structure and of an evolutionary device wich makes man, image ans sound interact thanks to digital tools. The machine becomes the creator’s ally to produce pictural and sonorous shapes. This space is ideal for collective performances; it accomodates in its center a constellation of visible shapes, spinning sound loops and luminous vibratory
elements. The dome-bubble hosts universes and objects endowed with life. They are articulated like subtle microcosms in conversation.
artist biography
Interview for SIP – SoundLAB Interview Project
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Title: Appearance (Apparition) march 2005 – 4:46
Dans le système utilisé, le piano scande le début comme des éclairs, disparaît dans le mirage des nuages. L’éloignement tendre des sonorités se déliquéfie, s’amplifie, disparait. L’attente s’installe avant l’apparition des graves au loin et le piano revient marteler l’informel. Il génère ainsi le souvenir et réinstalle l’identité musicale.
artist biography
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Title: Virtual rescue 2006, `3:46
Even this work is a sound collage, partly based on stochastic algorithms of the sound grinder KVARNEN at www.ssshhhhh.dk. The piece tries to give expression for one of the tasks of our memory, to survive with our own history in mind, individually and together. I used a lot of stringwork and the rhythmic sound of a wind power station.
artist biography
Interview for SIP – SoundLAB Interview Project
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Titles: 1. sad (2005) time: 02.56
I made any songs with a miniMac with the support of Ableton live 5.01.I also used some hardware stuff to make that songs like CASIO VL-TONE,ELEKTRON SPS-1UW MACHINEDRUM,ROLAND TR 909,ACCESS VIRUS C,YAMAHA RM1X,YAMAHA SU200,YAMAHA DX7,EDIROL PCR-50 & M-Audio Firewire Audiophile.
artist biography
Interview for SIP – SoundLAB Interview Project
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Brussels
List of videos
Arzu Ozkal Telhan (Turkey) Entitled, 2003, 3:34
Andrew Johnson (USA) – Black and White, 4:30
Elia Alba (Domincan Republic) If I were a…, 2004, 4:30
Alla Girik and Oksana Shatalova (KZ) Warning! Women, 2005, duration: 3 min. 12 sec
Eleanor Gates Stuart (Australia)Title: Knit, 2005, 9:04
Ina Loitzl (Austria) Title: Snow-white and red like a rose, 2005, 5:00
Joao Paulo Simoes (Portugal)Title: Take.This.Turn, 2005
Elisabeth Smolarz (Germany)Title:You and Me, 2003, 3:00
Beatrice Allegranti (UK) Title: IN MY BODY, video 2005, 4 min
Unnur A. Einarsdottir (Iceland) – Title: Toilet (2005),
Sonja Vuk (Croatia) – Title: Cosmo Club,2004, 6:05
Irène Tétaz (France) – Title: Il Nue (the nude), 2006, 4_00
Risk Hazekamp (the Netherlands) – Gay King, 3 min., year: 2005
Rahel Maher (Australia) – Misstar, 2002, 2:00
EILEEN BONNER (UK) – I THOU, 2004, 3:40
Sinasi Günes (Turkey) – Work title: ANDROGEN, video 2004, 3:34
Michael Brynntrup (Germany) – TV-X-perm, 2002, 8:00
Fred Koenig (France) – Title: The Vodoo Diva’s International, 2004, 6:40
Joey Hateley (UK) – Title: A: Gender, 2005, 5:530c
Ane Lan (Norway) – Title: Ane Lan, 2004, 2:46
Carlo Sansolo (Brazil) – Title: PANOPTICA, 205, 3:23
Erika Frenkel (Brazil) – Title: Cascadura Baby – 5:00 – 2004
Jamil Yamani (Australia) – Title: All Quiet on the Western Front, 2004, 4:53
Ruben James Preston (UK) – Remembering (4:40) (2005)
Stavanger
The RRF Project
Tampere
Strata Foundation Pisiö Finland- 24 August 2013
The NewMediaFest2020 selection includes
Videos on the topic – art & nature
QNQ/AUJIK (SWE) – A Forest within a Forest, 2010, 5:10
Adele Rackövi (Austria) – Croax – Evolution Errors, 2012, 4:00
Claudia Borgna (Italy) – The Final Accord I, 2016, 6:05
Lois Patiño (Spain) – Forest Echoes, 2011, 7:20
List of videos
Manuel Ferrer and Alena Mesarosova (Spain/Slovakia) – Irreal Time, 2012, 3:30
exDoc – experimental documentary film festival -curator Agricola de Cologne
Claudia Borgna (It) – Sweep and weep, Weep and sweep, Under, Over, In, Out, Away, 2010, 11:09
CologneOFF VII (Gwermany) – curator: Agricola de Cologne
QNQ/AUJIK (SWE) – A Forest within a Forest, 2010, 5:10
animateCOLOGNE – curator: Agricola de Cologne
Adele Rackövi (Austria) – Croax – Evolution Errors, 2012, 4:00
VideoChannel (Germany) – curator: Agricola de Cologne
Wei Ming Ho (Taiwan) – The Art Qaeda Project, 2010, 4:11
Manipulated Image (Los Angeles/USA) curator: Alysse Stepanian
Louise Coetzer (RSA) – Dead Air, 2011, 5:12
Letters from the Sky Festival Capetwon (South Africa)- curator: Kai Lossgott
Derek Larson (USA) – Landscape, 2011, 10:34
STRATA Foundation (Finland) – curator: Pekka Ruuska
Yuliya Lanina (USA) – Dodo Valse, 2010, 2.46
Videoart Festival Miden Kalamata/Greece) – curator: Gioula Papadopoulou
Juliana Alvarenga (Brazil) – Winter Garden”, 2010: 03:56
VideoBabel – Videoart Festival Cuzco (Pru) – curator: Very Tyuleneva
Andre Scucato & Cristina Pinhero (Brazil) – Mago, 2005, 3:26
FONLAD – Digital Art Festival (Portugal) – curator: Sergio Gomes
Dan Hudson (Canada) – River, 2011, 3:00
CologneOFF VIII (Germany) – curator: Agricola de Cologne
