Dec 012014

(audience)), The School of Media Studies and Parsons Urban present PARALEKTRONOIA a two-day festival of radio which includes a lecture/presentation by German sound artist Felix Kubin; a conversation between Kubin and Albert Glinsky (author of Theremin: Ether Music and Espionage) with a response from art historian Branden Joseph; a sound walk; and a “screening” of selected radio plays by Kubin, Anna Friz and Gregory Whitehead.
Complete Festival Details can be found at the ((audience)) Website

Day One – Perfomative Lecture

Thursday, December 4, 2014
The New School
– John L. Tishman Auditorium, University Center, 63 Fifth Avenue, Room U100, New York, NY 10003
$5 / FREE for New School students

PARALEKTRONOIA begins with a performative lecture by pioneering German electronic artist Felix Kubin. Musician and “compositional linguist” Chris Mann opens. A reception will follow.


Day Two – Symposium

Saturday, December 6, 2014
The New School – Anna-Maria & Stephen Kellen Auditorium, Sheila C. Johnson Design Center, 66 Fifth Avenue New York, NY 10003

((audience)) screening
Discussion and Response with Felix Kubin, Albert Gliskey and Branden Joseph

The electro-paranoiac phenomenon has left its mark on the lives of numerous electronic pioneers. Russian-born Léon Theremin not only invented the theremin, but also invented an infamous bugging device for the KGB. And Joe Meek, an eccentric British music producer, locked himself, at times armed, in his studio in order to keep the origin of his sound effects secret. A “paralectronic” artist has a mental radio with hypersensitive antennas.
– Felix Kubin

In order to track down instances of “paralektronoia”, Kubin interviewed inventors and musicians who research the effects of invisible oscillations on the psyche using field recordings and radiophonic experiments. The work includes interviews with artist Carl Michael von Hausswolff on Electronic Voice Phenomena and with scientist Stefan Andriopoulos on media and occultism, as well as excerpts of conversations with Alvin Lucier, Lionel Marchetti, Asmus Tietchens, Mika Vainio, and Dr. Hannes Maier, a physicist and neuro-otologist, among others.

Felix Felix

About Felix Kubin
Felix Kubin is one of electronic music’s most dynamic and versatile performers whose activities include futuristic pop, radio plays, electroacoustic music and works for chamber orchestra.

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Aug 212013

Something from the archives.

Charlie Morrow works with students in the School of Constructed Environments. A video was made to capture the essence of the workshop: sound is an integral element in the design of interiors.

“Charlie Morrow is a conceptualist whose work in music ranges over many styles and forms, including media events, public spaces, commercial sound tracks, new-media productions, museum installations, and programming for broadcast and festivals. Assembling expert project groups, Morrow employs a collaborative style that fuses arts, artists, and environment. Technological expertise is the basis for his work, much of which uses a combination of the new and old technologies. He is the president and creative director of Charles Morrow Productions, a leading developer of 3-D audio applications and museum multimedia.”

And Here’s the lecture Morrow gave as part of the Aftertaste symposium.

Screen Shot 2013-08-07 at 1.25.38 AM

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Aug 132013
Presentation by Susan Philipsz at part of the Public Art Talks.  Public Art Fund Talks at The New School are organized by the Public Art Fund in collaboration with the Vera List Center for Art and Politics at The New School.

Berlin-based artist Susan Philipsz (b. Glasgow, UK, 1965) is best known for her ethereal sound installations featuring songs ranging from folk ballads to pop music, often sung a cappella in the artist’s own voice. Her site-specific works combine references to history, literature, and popular and folk music to create visual, aural, and emotive landscapes. Mediating public spaces with sound that streams from strategically placed speakers, her audio installations layer seemingly nondescript sites such as a train station or parking lot, with the intimacy of the human voice. On the occasion of her recent exhibition at the Museum of Contemporary Art Chicago,Philipsz stated: “against the backdrop of the modernist architecture of the city I see the voice as a means to infiltrate spaces, like a ghost in the machine, and return experience to a human scale.”
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Aug 062013

I am teaching a class this Fall titled Sound Matters. Months ago, as I was preparing the materials for this course, which is an introduction to sound as a tool that can cut across disciplines, I started to despair that there might be no events available to my students that could contend with the incredible experience of A Murder of Crows by Janet Cardiff and George Bures Miller’s that coincided with my class last fall.

Thankfully, there are at least three worth noting, and you can read about them in this New York Times article by Blake Gopnik, titled Did You Hear That? It Was Art – Museums Embrace Works Made of Sound.

  1. Janet Cardiff – The Forty Part Motet
    at the Cloisters
    September 10–December 8, 2013

    While we have seen this piece by Cardiff in a variety of NYC contexts from MOMA to PS1 to Lincoln Center, it will be particularly interesting to experience the work in the context of the Cloisters.The Forty Part Motet is most often presented in a neutral gallery setting, but in this case the setting is the Cloisters’ Fuentidueña Chapel, which features the late twelfth-century apse from the church of San Martín at Fuentidueña, near Segovia, Spain, on permanent loan from the Spanish Government. Set within a churchlike gallery space, and with superb acoustics, it has for more than fifty years proved a fine venue for concerts of early music.
    – From the Metropolitan Museum website

  2. Soundings: A Contemporary Score
    The Museum of modern Art
    August 10–November 3, 2013

    Soundings marks the first major exhibition of sound art to be held at MOMA and is the impetus for Gopnik’s article. It will be interesting to see (hear) these works exhibited in relation to each other as many have been created for more site specific or discrete locations like the High Line (Stephen Vitiello), or the Kassel Hauptbahnhof (Susan Phillipz).  I am curious how this exhibition will act as a canonizing agent or at the very least, apply an easy categorization for what “sound art” (a contested term by many who might be labelled sound artists) is. Gopnik mentions this in his article and refers to concerns offered by the theorist/artist Seth Kim Cohen in his blog Voices of Broken Neck.Here’s an extract from the Exhibition page:

    MoMA’s first major exhibition of sound art presents work by 16 of the most innovative contemporary artists working with sound. While these artists approach sound from a variety of disciplinary angles—the visual arts, architecture, performance, computer programming, and music—they share an interest in working with, rather than against or independent of, material realities and environments. These artistic responses range from architectural interventions, to visualizations of otherwise inaudible sound, to an exploration of how sound ricochets within a gallery, to a range of field recordings—including echolocating bats, abandoned buildings in Chernobyl, 59 bells in New York City, and a sugar factory in Taiwan.

    – From the MOMA website

  3. Susan Philipsz – “Day Is Done”
    Governors Island

    While there isn’t much information out there about this yet, Gopnik implies that this installation, Governors Island’s first permanent piece of public art, is due in the Fall. While most of the press, including the page on the Governors Island website, states that she has not yet chosen a location, Gopnik’s article reveals the site she has in mind. “Ms. Philipsz is mounting four old-fashioned “trumpet” speakers — the kind you’d see in an old ballpark — across the facade of a sprawling old barracks, and for an hour every evening, they will broadcast the notes of the bugle call “Taps.” The tones of the ghostly melody will pass from speaker to speaker, fanning out across the island’s open spaces.”While the image above may not be the location chosen by Philipsz, it gives me an opportunity to share a link to these amazing images from the UK Daily Mail website.
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