02.09. - 05.09. Soundscapes Special ed. - Sonorous-Horreum

02.09. - 05.09. Soundscapes Special ed. - Sonorous-Horreum
Montag, 05.09.2011
15:00

Exhibition: 02.09. - 05.09. 15h - 20h

Listening is maybe one of the best acts of engaging with the world. In fact sound unsettles the visual stability and involves us in the production of an invisible world. This sonic life pulls our auditory imagination with the objective of finding the relations between us and the environment.
A life composed and surrounded by soundscapes that define our timespace.

Soundscapes, a traditional program of electronic music concerts at KAPU in Linz, extends it sound world and proposes an exhibition of sound works surrounded by concerts. International sound artists meet local compositions and the audience in a multichannel listening room - the “Sonorous-Horreum”. Sounds and noises that make us doubt in the darkness at the same time we compose the landscape only by listening.

We hope this Soundscapes will become a meeting point for all sound enthusiastics.

Clemens Pichler y Enrique Tomás [curators]

Information

Sonorous-Horreum (exhibition): 02.09 - 05.09. 15h - 20h
Artists:  Alessandro Bosetti, Alexander Berman, Carlos Suárez, Christoph Christo, Clemens Pichler, Coeval,  Edgar Barroso, Enrique Tomás, Geger Showcase, Julio D´Escrivan, Karlheinz Essl, Lee Fraser, Noish, Ricardo Climent, Richard Widerberg, Robert Bentall, Richard Eigner, Sam Salem, Segio Luque, Volkmar Klien, Wolfgang Fadi Dorninger, Alexis Guneratne, Diana Salazar, Mark Pilkington, Christopher Swithinbank, Kaho Cheung, Brona Martin

*special thanks to the NOVARS Research Center for its support!

 

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Ausstellung: 02.09 - 05.09. 15h - 20h

Soundscapes Special ed. - Sonorous-Horreum

(Zu)hören ist vielleicht die beste Art sich auf die Welt einzulassen.
Sounds können die visuelle Stabilität stören und lassen uns an der Entwicklung einer unsichtbaren Welt teilhaben. Das akustische Leben zieht uns hinein in eine Welt auditiver Vorstellungen, mit dem Ziel die Beziehungen zwischen uns und unserem Umfeld zu erkunden. Dieses Leben - umgeben und erschaffen von Soundscapes - bestimmt unseren Timespace.

Soundscapes hat als Programmangebot elektronischer Musik in der KAPU Linz Tradition. Es erweitert die Soundwelt und offeriert eine Ausstellung von Soundarbeiten begleitet von Konzerten. Internationale Soundkünstler treffen auf lokale Kompositionen und dem Publikum in einem Multichannel-Klangraum - dem “Sonorous-Horreum”.

Die Sounds und Geräusche lassen uns zunächst im Dunkeln tappen, während wir zugleich durch unser Zuhören neue Landschaften formen.
 

Sonorous-Horreum (Ausstellung): 02.09 - 05.09. 15h - 20h
Artists:  Alessandro Bosetti, Alexander Berman, Carlos Suárez, Christoph Christo, Clemens Pichler, Coeval,  Edgar Barroso, Enrique Tomás, Geger Showcase, Julio D´Escrivan, Karlheinz Essl, Lee Fraser, Noish, Ricardo Climent, Richard Widerberg, Robert Bentall, Richard Eigner, Sam Salem, Segio Luque, Volkmar Klien, Wolfgang Fadi Dorninger, Alexis Guneratne, Diana Salazar, Mark Pilkington, Christopher Swithinbank, Kaho Cheung, Brona Martin

*special thanks to the NOVARS Research Center for its support!

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Works description

Diana Salazar - La Voz del Fuelle (2010-11) - Stereo 8:47

In composing La Voz del Fuelle, I looked to recreate the physicality of the bandoneón which is at the forefront of many modern interpretations of Tango music. In the work, recordings of the instrument are woven in amongst other typical instruments of the style, as well as extended and manipulated sounds from bandoneón, piano, violin, and cello, combining to form waves of tension and release that underpin the work. The use of pulse and rhythm is crucial in weaving the gestural content together, and clarifying a link to the authentic sound of Tango.

Carlos Suarez - Nosce te ipsum [2011] - Stereo 4:56

My creative process focuses on the discovering of the resonances of beings, because in that unique structure is where I can find unheard acoustic contents. This process is an incesant fight for expressing that sound to the world. Death surprises an artists when abandons and stop working on materializing his own onthology. In that case, artists become compliant followers of any of the controlled “isthmus”.

Coeval  - doze56 - [2010] - Stereo 10:00
Composition created from sound field recordings taken during the night at the National Park of Cabañeros [Spain] in the period of heat or animal rut. This work is based on the sensations got during those dreamful nights.


Rob Bentall - Surge (2010) - Acousmatic (5.1) 10:15

Surge was inspired by my desire to explore gesture and energy transfer in order to define a new
compositional aesthetic, whilst exploring multi-channel formats. The drastic, dynamic gestures act
as a point of departure for new sound materials, spatial transitions and rapid shifts in texture. The
primary source sounds used were backpack zips and the renaissance Viola Da Gamba, an instrument
that produces sensuous, lush sounds thanks to its gut strings and soft dynamic range.


Sam Salem - Public Bodies [2009] -  Stereo

Public Bodies explores the theme of voyeurism, both intentional and accidental. We are private bodies caught in the public gaze, we see things that we would rather not, we are simultaneously hungry for attention and yet crave privacy: we are always seen and yet never watched.

Public Bodies is a work in three movements. Sonically, the main musical discourse is between the following elements: a human voice (which represents the Self or Inner), the sounds of the city (which represents the Other or Outer) and harmonic and rhythmic material derived from the two.



Sergio Luque - Happy Birthday (2006) - 6 channels - 8:00
In the late 1960s, Iannis Xenakis started his research on Stochastic Synthesis: a microscopic approach to sound synthesis that uses probability distributions to manipulate individual digital samples .Stochastic Synthesis is a largely unexplored technique in computer music and is capable of producing rich and energetic types of microsound; the goal is to produce expressive sonorities —  with "numerous and complicated transients" — in an efficient manner. My piece explores the expressive and timbral possibilities of an extension of Xenakis's techniques that I am currently developing.

Kaho Cheung - La possibilité de la metropia  [2010] - Stereo 10:24
La possibilité de la metropia is a fixed media work based on field trip recordings in metro systems around the world, utilising a wide palette of sound sources in the mechanical landscapes. Since 2007, recording trips were carried out in twelve cities including Athens, London, Berlin, Stockholm, Helsinki, Valencia and Barcelona in Europe; Tokyo, Bangkok and Hong Kong in Asia; as well as New York and San Francisco in the United States. The music carries the audience from an imaginary landscape to a sound environment in the real world.


Christopher Swithinbank - La leggerezza delle città (2010) - 5:32 Stereo

Combining a sonic vocabulary that fuses concrete sounds of the city with more abstract material, La leggerezza delle città hopes to explore and expose the weightless clarity of certain acoustic experiences. In part this approach is inspired by Italo Calvino’s proposals for the future of literature made in his Sei proposte per il prossimo millennio, which suggests that a quest for a literature of lightness, quickness, exactitude, visibility and multiplicity will characterise the next 1,000 years. It is this ‘leggerezza della pensosità’ — this lightness of thought — that I strive for.


Julio D´Escrivan - Ensayo sobre la torpeza  10:32 stereo

Alessandro Bosetti - Campanas [2009] - 24:03
I will find several of what the inhabitants of Gomera and Silbadores call “campanas” - spots of the landscape that have a special resonance, known to the whistlers because they carry the sound in a special way. The sound materials include voices of the inhabitants and the Whistled Language el Silbo. I have recollected sounds, whistle and speech related to certain places, barrancos, wet areas, dry areas, areas that recently burned and to re play them in the acoustic / resonant landscape where they originated. I emphasize the acoustic qualities of the landscape and, making them evident and using it as a musical instrument. 

Alexis Guneratne - des vents et des cieux (Passage I & II) - Stereo 7:19
Two movements from the larger acousmatic work, des vents et des cieux ("of the winds and skies"), using recordings from the forests of Luxembourg. Drifting forces emerge from ambiguous, elemental, often delicate sound textures, offering the listener an environment to trace and explore.

Lee Fraser - Aerial Vapours [2011] 9:32
Aerial Vapours explores notions of light, lightness and transcendence within spectral space. Many of its defining morphologies suggest skyward trajectories, which, on occasion, achieve a sense of empyreal gain. The title is taken from a line in Milton's Paradise Lost, in which the author describes the flight of unfortunate souls whose self-profiting ways in life will earn them a place in the "Limbo of Vanity" within "the bare convex of this World's outermost orb". It reflects a situation which is both fixed and transitory, another pertinent theme here.


Clemens Pichler - Claudere Soundscapes [2010] 9:42

Enrique Tomás -

 

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