Inspiring Landscapes / Spaces
Fujifilm Superia X-TRA 400 - Sääperinjärvi (North Karelia, Finland)
Ilford Delta 3200 - Kiasma 1, 2 + 3 (Helsinki, Finland)
Fujifilm Superia X-TRA 400 - Aquatic landscape 1 (North Karelia, Finland)
Fujifilm Natura 1600 - Kukkovaara (North Karelia, Finland)
Fujifilm Natura 1600 - Binaural recording w/ 2x DPA 4060 + Edirol R44 (North Karelia, Finland)
Fujifilm Natura 1600 - Woodland textures 1, 2 + 3 - Jänispolku and around (North Karelia, Finland)
Kodak Portra 800 - Aquatic landscape 2 (North Karelia, Finland)
Fujifilm Natura 1600 - After dark 1 + 2 (North Karelia, Finland)
Adox Color Implosion 100 - Woodland textures 3 + 4 (Lancashire, UK)
Adox Color Implosion 100 - Shapes (Brighton, UK)
Links of Interest
Theatre Academy Helsinki - MAECP Open Lecture Series
Information on Neocybernetics
http://neocybernetics.com + http://autsys.aalto.fi/en/Cybernetics
'Posthumanities' publication series from Minnesota University Press
Birgit Schuhbeck - Less art, more substance. New tendencies in contemporary theatre
Books of Interest
Brown, R. (2010). Sound: A reader in theatre practice. Basingstoke: Palgrave Macmillan.
Clarke, B. (2014). Neocybernetics and Narrative. MN: University of Minnesota Press.
Curtin, A. (2014). Avant-garde theatre sound: Staging sonic modernity. United Kingdom: Palgrave Macmillan.
Freeman, J. (2016). New Performance/New Writing. London: Palgrave.
Henke, C. and Middeke, M. (2007). Introduction: Drama and/after Postmodernism. In: Drama and/after Postmodernism. Trier: WVT Wissenschaftlicher Verlag.
Kholeif, O. (ed.) (2017). You Are Here: Art After the Internet. 2nd ed. London: HOME (Cornerhouse) + SPACE.
Kokkonen, T. (2017). The potential nature of performance: The relationship to the non-human in the performance event from the perspective of duration and potentiality. Helsinki: Theatre Academy of the University of the Arts Helsinki, Performance Research Center.
Kostelanetz, R. (1994). On innovative performance(s): Three decades of recollections on alternative theater. Buffalo, NY, United States: McFarland & Co.
Lehmann, H.-T., Virkkunen, R. and Theatre Academy Helsinki (2009). Draaman jälkeinen teatteri [Post-dramatic theatre]. Helsinki: Like.
Lushetich, N. (2016). Interdisciplinary Performance: Reformatting Reality. London: Palgrave.
Morton, T. (2016). Dark Ecology. New York: Columbia University Press.
Morton, T. (2013). Hyperobjects. MN: University of Minnesota Press.
Ovadija, M. (2016). Dramaturgy of sound in the avant-garde and Postdramatic theatre. Canada: McGill-Queen’s University Press.
Smith, J. (2015). Eco-Sonic Media. CA: University of California Press.
Soidinsalo, H. (ed.) (2014). Ääneen ajateltua - kirjoituksia äänestä, esityksestä ja niiden kohtaamisista [Thinking aloud - writings on sound, performance and their encounters]. Helsinki: Theatre Academy Helsinki.
Camus, A. (1942). The Outsider [translation by Sandra Smith, 2013]. London: Penguin.
Carlyle, A. And Lane, C. (Ed) (2013). On Listening. CRiSAP & RGAP.
Irigaray, L. and Marder, M. (2016). Through Vegetal Being: [Two Philosophical Perspectives]. New York: Columbia University Press.
Lane, C. and Carlyle, A. (Ed) (2013). In the Field: The Art of Field Recording. Axminster: Uniformbooks.
Matthews, P., McClelland, J. and Nalbantian, S. (Ed) (2010). Memory Process: Neuroscientific and Humanistic Perspectives. MIT Press.
Toop, D. (2016). Into the Maelstrom: Music, Improvisation and the Dream of Freedom. New York: Bloomsbury.
Voegelin, S. (2010). Listening to Noise and Silence: Towards a Philosophy of Sound Art. Continuum Books.
Voegelin, S. (2014). Sonic Possible Worlds: Hearing the Continuum of Sound. Bloomsbury Publishing.
Audio Test for Deconstructing Camus
This is a binaural recording of the playback of a surround composition made in May 2017, and it was made to test a concept for 'Working Within Broken Ecosystems - an absurd meditation from around the world'.
The result is raw in comparison to how I imagine the performance is going to sound.
Interview Q's for Aiste Noreikaite
Aiste Noreikaite is a creative with a Digital Media Art background. I interviewed her in October 2017 for the purposes of my BA dissertation & MPP research.
What is Vox?
Vox is a name given to the play we were working on with Ben Mills. The real name of the play is 'The Human Voice' by Jean Cocteau. And the reason for this change being: we only were in R&D stage of this project and legal issues were not solved yet, so we couldn't use 'The Human Voice' publicly.
How did you begin working with Ben Mills? How did you get into working with theatre/performance?
Ben has found out about my work 'Experience Helmet' over the internet and suggested to meet. We discussed each others work and he offered to join him on Vox - to create a brainwave based soundtrack - because the play was so intimate and involved a single person, so it was perfect. He wanted to convey the internal state of the character in this way because she was pretending she was on OK her monologue. I do admire Ben's work.
Have you been involved in any other experimental theatre work?
I've been doing some performances with the helmet. Using brainwave sounds alone (as a meditative piece) or in combination with butoh dance, Fluxus event scores (in collaboration with Zoe Dawlen). Not sure if that falls directly into theatre.
How have you approached the project - is Vox scripted or devised? What role does EEG play in the performance?
Yes, the monologue was original/from the script. As I said, it was only R&D and nothing was finalised (or even finished unfortunately, but it might get finished later). The actress (Stella Taylor) was wearing Muse headset during the entire play and the sound levels were changing according to the work of her brainwaves. So if let's say had more alpha at some point - a certain sound's volume that was mapped into alpha would go up. Most of that week I spent sorting out technical issues (I used a different device before), but we also had another sound artist (Clive Viella, also from LCC) creating some drone sounds to use for mappings.
How are you using the data obtained from EEG sensors? Are you using synthesis to sonify the information? Max MSP? Max for Live?
I'm in a very experimental mode with this. Have tried many options: directly to synthesis, as a volume gain, as on/off for individual samples either playing together or just one at a time. Everything in Max MSP. For further work I need to investigate brainwave analysis more and look out for a more suitable software.
Have you experienced (or heard of) anything similar within the context of performance art/theatre? I similarly work with sensors and sonifying/manipulating sound with data, and what you do feels very powerful to me.
Thank You. Can't remember now...
Seems similar to the work that you have been doing with the Experience Helmet - was this the initial inspiration for the project? Or something that connected you to Vox?
Yes exactly through Experience Helmet.
How have you found working in a theatre setting? Thinking about theatre as a complex network rather than a hierarchy (text, sound, movement, light, etc.) - how do you think your sound design relates to the overall narrative? Is it driven by sound? Is any of the movement based around sound? Any lighting? + vice versa. I’m hoping to find out details about the power dynamics in the performance and its creation.
I found it very mind bending. There's so much that you can do. Comparing to a sound installation I like that in a performance you have a character and you can use sound/text/set to see through his/her eyes. Regards to my own performances with the helmet - it's very personal. Because I had depression and was very very anxious, I thought revealing my state through performance would help. And actually by the end of it I would come out very calm, as if I had meditated. I guess throughout the performance I would only sit with my thoughts and maybe try a little bit to relax but that was enough even in front of other people. Also, because I felt so horribly inside my choice of sounds was a bit haunted, again I just wanted to reflect what's inside my head. Sounds, sonification aren't locked, they vary from time to time.
What is your relationship with your tools? Considering all materials at your use for this performance; spaces, humans, equipment, existing sound, and in your case human emotion… etc.
Although the brainwave performance is mainly sound, I care about aesthetics as well, it's mainly revealed through the costume I'm wearing. I use existing environmental objects and humans to stare at while performing, so the brain soundtrack changes if I stare at a painting or trees, close my eyes, stare at visuals that are connected to the installation and change accordingly (happened once with artist named Hanzo).
How is your creative collaboration with Ben Mills (or a director in general if you have worked on other theatre as a sound designer)? How would you describe your interactions with other creatives in this project?
Our brainstorming sessions were really great. We were joking we could set up a panel discussion over the brainwave theatre subject. Most of the time Ben was working with Stella and I was sorting out the tech. Sorry, it was also a while ago and I can't recall everything now.
What was your role working with Hive Mind? I am aware that they did some studies during the run of the Encounter at the Barbican in 2016. I’m assuming that this data is used to observe and study the audience rather than use it in performance.
Yes. I was rather a research assistant during the event. We attended 3 sessions of The Encounter. I can't tell you how powerful the experience was. Hearing through the binaural head was definitely helping to draw pictures of the location much clearer and most of it - to locate objects in the space more precisely. As if you were actually there. At the moment the data is being analysed. The experiment was a hyperscanning study made to see if brain activity of two different people correlates when they are sitting in the theatre together (around 20 subjects at once) and when they watch it separately. This play was very suitable for this purpose because of it's immersiveness.
Do you have any future plans to work in theatre/performance art?
At the moment I'm preparing for a show with the helmet in Paris and possibly Amsterdam.
Few Pix: Fragments of Past Work
Found some interesting documentary material going through an old hard drive. 061017.
Shooting 36 DRAMATIC SITUATIONS
Live streaming CULT to Tokyo (Future Shorts) + promo
Rehearsing NO LONGER A SECRET
Pre-performance - ANOTHER BALD DEAD WOMAN at Spill
Brief Reflection on Meeting with Ed Baxter (RE: Bedtime Monologues)
My initial proposal for Bedtime Monologues was to present the work as a one-off broadcast in early 2018.
The conversation (111017) with Ed from Resonance was very thought-provoking and inspiring. Thanks to his advice and support, this piece of work really took off the ground today.
Instead of working towards a single broadcast, the new plan (in the making) is to present a short series of several sessions - each with a different collaborator - creating diversity to the work combining a variety of unique aesthetics, recordings, samples, worlds of sound, knowledge and stories to share.
Response to First Dissertation Tutorial
Pixel Tears - CPT - 30th Nov 2017
This will be the third public venue in which we present Pixel Tears. Unfortunately, despite our best efforts, we failed to secure funding for the show, so this will be the last for now. Get your tix here!
It's been a great chance for all of us to experiment within a diverse interdisciplinary group of artists. The first two shows were presented in the White Lab at Central Saint Martins earlier on in 2017, and the sound design included 30 pairs of wired headphones for the audience members. For our third and fourth public shows at the Ugly Duck we decided to proceed with a different approach - an eight-channel surround speaker arrangement around the audience. The CPT show will see us return to controlling the performance environment using headphones, but testing out a wireless set-up. Exciting times ahead.
Updates on Works in Progress
Times confirmed for live broadcasts on Resonance FM.
1 - Friday 19th January 2018 (20-21 GMT)
2 - Friday 16th February 2018 (20-21 GMT)
3 - Friday 16th March 2018 (20-21 GMT)
4 - Friday 20th April 2018 (20-21 BST)
Exciting line-up of collaborators confirmed - ranging from musicians to sound and performance artists. Names and bios TBA soon.
Working Within Broken Ecosystems:
It is a pleasure to be able to write that this piece has been commissioned by Strands - a programme of digital art commissions launched by Resonance Extra - supported by Jerwood Charitable Foundation.
More information TBA.
Points of Interest (Dissertation Tutorial with Dr. J. Milo Taylor)
Roy Ascott - Reframing Consciousness.
Manuel De Landa - A Thousand Years of Nonlinear History.
Issues with materiality: what is materiality and immateriality within these contexts (mediated performance)? How does the technology change our notions?
Relationship of cognition and action.
Agency of things.
Ecosystems - metabolism.
Experimentation with Freeware Planning Tools
A GANTT chart representing a proposed schedule for my Major Project Portfolio (as of 071117):
Bedtime Monologues - Pt. 1: BEAUTIFUL SOUL (BS) SYNDROME w/ Neanderthalic
Friday 19th January 2018 (20-21 GMT)
"Neanderthalic is one of the musical aliases of London based artist Artur Strekalov. Blending influences from contemporary dance music and avant-garde Artur creates non-genre specific experimental electronic music using a variety of instruments, samples, and field recordings.
Inspired by the Los Angeles beat scene in 2012 he first got into making left-field hip-hop instrumentals. In 2016 he started performing and releasing music via music streaming platforms under his real name which was changed later that year to Neanderthalic."
Our initial idea for the broadcast is to give voice to objects. We are exploring a variety of topics, but most notably the concept of anthropocentrism.
Major Project Portfolio (MPP) - Tutorial 1 w/ Dr. John Wynne
- Might be interesting that the planned surround set-up for speakers would be something more alive/animate. Test out other ways of (re)producing sound.
- Glen Neath
- Audience perception
- R&D presentation advice: make sure to talk about previous experimentation with headphones (proximity-empathy/audience-performer)
- R&D presentation advice: talk about influences
- How would this be tested before going out live on air? How to prepare for something like this?
- Using recorded material from rehearsals in the final broadcasts?
Workshop Series (Sound in Experimental Theatre)
- R&D presentation advice: make my role very clear
- Reflection on documentation important as the finished pieces of work will be the workshops themselves.
Academic Support Meeting (Dissertation) w/ Rachael Finney
Indicate how I'm going to have my discussions; foreground who my key thinkers are + map what the argument looks like. Why have these sources been selected? Introduce each chapter and explain the navigation of the arguments. Justify their uses.
Since the meeting I have found some useful guidance in response to the above:
1. Statement of purpose
2. State of the field
5. Chapter summary
This refers to the planning of a Ph.D. prospectus, but has made me reflect on the purpose of my introduction.
Make sure that there is a bridging paragraph from one subchapter to another. A LITTLE BIT MORE MAPPING/NAVIGATION OF THE READER.
A draft chapter will be uploaded here soon.
Bedtime Monologues - Pt. 2: ORBITAL RESONANCE w/ Ka. Louxm
Friday 16th February 2018 (20-21 GMT)
"Lucas Boetsch (Ka. Louxm) has always loved music and how it influences human perception and our emotions. He started by playing the guitar until he discovered another passion - using software to record himself and sample music. He has been collecting records for some time now to find the perfect samples for his music, using an MPC and a turntable as his main tools.
Since starting his university studies in London, he has discovered new fervours - film scoring and sound recording. He is now trying to find his direction by producing in all kinds of projects and collaborations."
The theme of this broadcast is time + space. Our intention is to playfully simulate the flow of entropy in our universe during an eclectic 60 minutes of live improvisation. We begin with something highly structured and ascend into chaos - in respect to the arrow of time. Expect fun facts about spacetime & immersive electromagnetic recordings.
WWBE - Video Feedback Test #1
Interview Q's for Glen Neath
"I am a writer, artist and theatre-maker. I have written novels, plays for radio, for the stage and for non-theatre locations, performed by rehearsed and unrehearsed actors and by members of the public who are also the audience. To date I have shown work in 17 countries across five continents.
I am an Associate Lecturer at Wimbledon College of Art. I have mentored at Central School of Speech and Drama and NYU Tisch as well as hosting workshops at Royal Holloway.
I studied Fine Art at Trent Polytechnic and have exhibited paintings in London, Nottingham, Leicester and Sheffield and installations as part of Manifesta European Biennial of Contemporary Art, at the ICA in London and in Dublin."
This interview is for my disseration & MPP research. November 2017.
How did you first get involved in making theatre?
I studied Fine Art in Nottingham and struggled to continue painting when I moved to London (finding studio space, expense etc) and I had always written so I began trying to write plays. When I encountered the shunt collective in 2000 the way I thought about making theatre changed.
What is Darkfield? How did your collaboration with David Rosenberg come to be? Do you have any specific themes or concepts that connect all of your work - something that you are continuously exploring?
Darkfield is the collective name for the shipping container shows I am making with David Rosenberg - Séance was the first. David was a member of shunt and we spoke about working on something together for a long time before we began our collaboration in 2010-11. Both David and myself have an interest in the position of the audience in relation to the work and the idea of making binaural sound pieces in the dark seemed to allow us to experiment with placing each audience member in the position of the play’s protagonist - one of our abiding interests.
In your performances sound seems to have an important role in driving the narrative - especially in Ring, Fiction and Séance which are all performed in the dark and use binaural sound. How do you approach translating your words/ideas/texts/concepts/etc. into sonic material? What is your relationship with sound?
The pieces are constructed with the concept very much at the forefront, I do not write texts that need to be fashioned to fit the format. The concept comes before the narrative and the narrative is never about telling a story but about telling the ‘story’ of the experience - in real time.
I’m very interested in the dynamics and interactions of SDs and other creatives - could you please elaborate a little bit on the process of you working in collaboration with sound designers?
We used shunt sound designers Ben & Max Ringham in our first two pieces Ring and Fiction, but David now edits the sound - he is technically much savvier thank I am. But our process is very much a collaboration - he does the technical ‘work’ but we work on the edits as a team. For example, I have been credited as the writer but David is very much a co-writer as I am a co-director/editor. We talk about every stage off the process as we move through it.
Is your work mostly scripted or devised?
Your choice to not show the technology is fascinating - playing with what is real and what is not - how does this in your opinion effect the experience of the audience as opposed to seeing it?
It took a long time, as we worked on our first piece Ring, to decide the best use of the technology (which was very new then) was not to show it. I think the pieces work best when the line between what is happening or not is blurred. All the pieces have walked along this line…
What to you is the main difference of experiencing a performance collectively as opposed to experiencing something alone at home? How does audience interaction shape your performances?
The work only really works in a group situation. The psychology of the group is part of our considerations when we plan the work. The pieces also make use of a ‘phantom’ audience that exits on the recording to ape the audience you (the audience member) is sitting in the dark space with. Because much is left to the audience to imagine I think of thyme pieces as being very much finished by the spectator.
Do spontaneous audience reactions become a part of the narrative?
No, they aren’t really helpful.
Have you experienced any other interesting binaural work in the context of theatre/live art? What about any performances generally experimenting with sound that come to mind? Any specific pieces, companies, venues, etc.?
I made 2 pieces of work with Ant Hampton (Rotozaza), who is now based in Brussels. We made Romcom in 2003 and Hello for Dummies in 2010-11. He is an artist who experiments with sound and very worth looking into. I think a couple of his later pieces have employed binaural sound.
As part of the research of our upcoming broadcast (Bedtime Monologues - Beautiful Soul (BS) Syndrome) - we visited Woodberry Wetlands to explore the nature reserve and its surroundings.
We spoke to a member of the London Wildlife Trust and they told us about the history of the area: controversies around its ownership, the modern developments around the area and a successful petition that was created in the late 20th century to protect the area and its wildlife. This all resonated with our ideas for the broadcast - especially the concept of anthropocentrism and alternatives such as ecocentrism. We are hoping to record an interview with someone from the LWT.
Our recordings were mainly captured with contact microphones and hydrophones. Below are two audio clips to give an idea of what we got up to:
The next destination that we are visiting will be Walthamstow Wetlands.
Binaural Audio Test ###
Reading of text
Exploring the sonic space
Hunting sound (password: ###):
In the video above, the performer is equipped with two DPA 4060s, one in each ear. Audio is played back through eight channels into the space and I’m monitoring the binaural feed (performer’s perspective) with headphones.
This test was conducted to think about how the audience are going to interact with the sonic world of WWBE (read: work in progress/portfolio). Having the audience hear what the performer hears is an intimate experience, but leads to many technical challenges (read: previous experiments with headphones in the context of live performance/previous entries).
The main issue that was raised during the tests today was speech. The DPAs map the space nicely during listening, and thus provide an authentic binaural experience for the audience, but resting them at the opening of the ear canals proved to be an issue in some aspects of speaking - especially the S’s.
Movement was limited due to being wired. Next test will be trying out a wireless solution. I didn’t initially think that the cables would be an issue, but to make the movement more fluid I’ve concluded that this is worth trying out.
Arduino 101 (password: ALT)
This was supposed to be a treat for the summer (post-BA)...
Arduino 102 (password: 102)
Bedtime Monologues - Pt. 3: TBA w/ Louis King
Friday 16th March 2018 (20-21 GMT)
"King Louis (commonly known as Louis King) is an American multimedia performer and artist, strongly influenced by his Midwestern, ‘Rust Belt’ roots. Louis's performance and activism are currently concentrated on exploring issues impacting LGBTQ and working class populations. His work typically combines elements of sculpture, monologue, and aural soundscape to create interactive experiences that engage Millennials with live art. He is currently living and working predominately in the United Kingdom.
Louis King has worked extensively with Holly Hughes of the NEA 4, Peggy Shaw and Lois Weaver of Split Britches, and Lecoq trained performer, Malcolm Tulip. He has facilitated the performances of Ruth Maleczech of Mabou Mines, Cyndi Lauper, and P!NK. Louis's performance work has been presented in New York City, Chicago, London, Spain, the Prague Quadrennial 2015 Festival, and the Edinburgh Fringe Festival. His frequent collaborators include Erin V. Murray, Colin Fulton, the Figs in Wigs, and the circus artists of The Muse, Brooklyn where Louis was an artist in residence from 2013-2014."
Broadcast description TBA. First thoughts: intergenerational relationships.
Bedtime Monologues - Pt. 4: TBA w/ Lucie Štěpánková
Friday 20th April 2018 (20-21 BST)
“Lucie is a student of Sound Art at London College of Communication, music producer and live performer. Trained by intuition and attentive listening she is inspired by the unsounding and barely audible events in the sonic world, deep listening, solitary exploration of natural and urban ecosystems and improvisation.
Her work merges field recording and synthetic sound, creating immersive imaginary moments in progressive ambient compositions that seek to expose and explore detail within evolving sound and its inherent nature to relate to the emotional contents of human condition.”
Broadcast description TBA. Initial ideas and themes to explore: boundaries of reality, imagination and dreams; dealing with emotions; consciousness of self; looking into movies that are center around the previously mentioned.
R&D Jam w/ Artur S
Links of Interest - End of 2017
Dissertation (BA Sound Arts)
RESPONSES TO TIME, SPACE AND ENERGIES: A CRITICAL ANALYSIS OF CONTEMPORARY SOUND DESIGN IN EXPERIMENTAL THEATRE
Click for PDF.
R&D Jam #2 w/ Artur S
Space Proposals for Broken Ecosystems
So far I've sent performance/residency proposals to IKLECTIK Art Lab and Platform Southwark. The search continues...
Hive Mind & The Encounter R&D Resources
The Hive Mind Project studies communal consciousness - collective experiences and the emergence of crowd behaviour.
They use EEG data from groups of volunteers while they experience something together as well as individually and compare these datasets to study the neural effects of togetherness in a performance context.
The project started their experiments at a production of The Encounter in the spring of 2017.
More information on their work can be found at: Hive Mind.
An interview of Rita Carter can be found at: Rita Carter & The Encounter.
More (interactive) resources on the making of The Encounter:
Barbican Open Lab & HOME 2018 [Application]
Open Lab is an opportunity for artists to experiment across disciplines without expectations of a finished piece of art.
The residency includes a week at HOME in Manchester and a week in the Pit Theatre at the Barbican.
Myself (a sound artist), Anna Nykyri (a visual artist) and Louiseanne Wong (a dancer & choreographer) have applied for this incredible opportunity with an initial idea of researching and exploring various aspects of choreographic environments as installations built through moving image, sound and movement.
We are basing our idea on Sophia Lycouris’ research of interdisciplinary choreographic environments (Lycouris, 2012):
“I suggest that choreographic environment is an appropriate term for installative or performative work which requires physically active viewers, whether the work is interactive or not, and whether it is presented in art spaces such as theatres and galleries, or in non-art related sites.” (Lycouris, 2012, 378)
“Interdisciplinary choreography may include the application of choreographic techniques on materials other than the dancing body, for example, images and sounds that can assume performative presence. This does not exclude human bodies from being part of a wider, yet heterogeneous, pool of choreographic components; in fact human bodies become fully present in these meta-systems…” (ibid., 370)
We are proposing to playfully re-invent and research the idea by devising sketches of installations and trying them out in practice during the residency.
Physical computing would be embedded into the collaborative process; studying the possibilities of sound design within the choreographic environment as well as the many ways of interfacing with our surroundings. Our time at HOME and The Pit will be used to innovate and experiment with ways in which contemporary technologies can be used to create and manipulate sound, and interact with other constructive elements within the performative environment.
“It is becoming possible to manipulate and structure the entire sonic space of a theatre in a targeted fashion. Just like the progression of actions, the musical level is no longer structured in a linear fashion but rather, for instance through simultaneous superimposition of sonic worlds.” (Lehmann, 2006, 185-186)
“The technology available to sound designers had changed dramatically over the course of past decades. We have been provided with countless possibilities of manipulating material in real-time, as opposed to playing back recordings from start to finish as they are. […] These changes have made a new relationship possible between sound designer and performer.” (Soidinsalo, 2014, 38, translation by author)
The HOME rehearsal space would create the possibility for researching ideas in a safe, open workshop-like environment, embracing the potential of interdisciplinary collaboration: the combination of molecules, such as bodies, gestures, sounds, videos, spaces and objects, that form unexpected arrangements. The Pit Theatre would provide us with further possibilities and resources to experiment with our findings.
Text co-authored by Anna Nykyri.
Lina Hermsdorf - State 0
Interesting find. The work explores similar themes to my current endeavours: power politics; interaction of biological and technological structures; cross-disciplinary performance making.
“For her first institutional show in the UK, Lina Hermsdorf presents an architectural transformation of Flat Time House with an immersive sound installation throughout John Latham’s studio home. For this new commission, Hermsdorf uses large sheets of reinforced glass to divide the rooms of Flat Time House creating different sound spaces in which viewers may experience a temporal dissonance. The exhibition environment is used as a time-based medium with the viewer at the centre of a series of non-linear scripted narratives. Over the course of the show performances will take place within the installation.”
Sound of Music (in a Box) -Inspired Weather Box
I’ve been visiting the above site every now and then since I first discovered it in 2015. It has been super thought-provoking in a mystical way: connections that these objects have to the four seasons of the year as well as the connections that these artists have to these objects, etc.
The entire process has been documented so thoroughly that it’s a joy to engage with… time after time.
This installation (and the WEATHER STATION sound/space exhibition in general) has been inspirational throughout my research on how we interface with our surroundings - in this case weather data - through objects and sonification.
I’ve recently spent some of my free time prototyping a little weather box. More info on this soon ;)
Raspberry Pi & Python 101
In addition to learning Arduino & C++, I have recently acquired a Raspberry Pi and a Sense Hat. During the last few weeks I have introduced myself to Python 3.x, and have been playing around with different ways of accessing the single-board computer. These adventures will be continued during the summer.
I would like to control the Pi from outside of my local network, as it would be useful to be able to do work with the board without having to carry it around. I’m currently using either SSH or VNC to access the computer, but this is currently only working within the network. I’ve been reading about port forwarding and Dynamic DNS, which should solve my problem.
Some fun learning resources (previous entry):
Links of Interest - End of 2017
VR References (MPP Tutorial w/ Dr. John Wynne)
- The Facebook 360 Spatial Workstation
- CC LAB. Virtual Reality 1/2
- CC LAB. Virtual Reality 2/2
During the tutorial we discussed some potential future avenues for work relating to Broken Ecosystems. These references relate to sound design in the context of VR.
It would also be interesting to carry on some further research into virtual and augmented realities as affinity spaces - ecosystems of future learning.
PSi #24 DAEGU [Proposal]
The (sounding) performance environment as a neocybernetic ecosystem
Chapter 1: Post-dramatic sound and power dynamics in performance
Chapter 2: Performing systems
Chapter 3: Parallel intensities and temporalities explored further
“In devising [theatre] you are activating a system of energies in space.” (Etchells, post show Q&A following a performance of Real Magic, 2017)
This paper discusses emergences of sound within the post-dramatic ecosystem, and the interactions between the constructive elements of performance in this context. The writing focuses on the post-dramatic aesthetic; mapping some socio-political developments that have contributed to the birth of post-dramatic sound; using neocybernetics to analyse dynamics of structures and interconnected systems observable in contemporary theatre.
The first chapter Post-dramatic sound and power dynamics in performance introduces Lehmann’s ideas on post-dramatic theatre, and interpretations that have followed in relation to sound from academics and practitioners such as Brown, Curtin, Kostelanetz, Ovadija and Soidinsalo. The second chapter Performing systems explores Clarke and his research into the relationships between second-order systems theory and narrative. These ideas are then applied into the critical analysis of Another Bald Dead Woman performed at Spill Festival of Performance (UK) in 2016, Pixel Tears performed most recently at Camden People’s Theatre (UK) in 2017, and Broken Ecosystems: absurd meditations from around the world - a work in progress that explores anthropocentrism and post-digital absurdity of being.
The paper playfully speculates connections between post-dramatic sound, ecology and social systems, therefore justifying its use of neocybernetic theory to discuss the aforementioned interdisciplinary collaborations.
Jeff Mills: The Outer Limits (NTS)
A six-part musical program that explores the intricacies of time and space. Available on NTS >> LINK.
Currently listening to chapter one: Black Hole. This is a pleasant Friday afternoon find - an inspiring reference for Bedtime Monologues [E2: Orbital Resonance].
+ A reference for creating radiophonic work: Re-inventing Radio: Aspects of Radio as Art (Revolver Publishing). To be explored in more detail...
Bedtime Monologues [E1: Beautiful Soul Syndrome] Documentation
The above audio file is a HQ recording of the broadcast, and the episode can also be accessed on the Resonance Mixcloud: Clear Spot - 19th January 2018.
Bedtime Monologues is a three-part series of semi-improvised radio performances flowing around a specific theme each time. Hosted by Erik Lintunen.
[E1: Beautiful Soul Syndrome] The first episode is a collaboration with Neanderthalic/Artur Strekalov and explores anthropocentrism - sharing voices from the non-human world and those who actively defend the rights of its inhabitants.
…When You Look Away
“How to approach something we can’t understand? Phie Ambo’s …When You Look Away tries to do just that. It is a cinematic study of awareness beyond our physical bodies. Ambo begins an exploration, deciding to pick the people for the film through coincidental connections. The method works well, and we meet the most interesting persons, from quantum physicists to psychics and futuristic businessmen. Each encounter brings a new point of view to approaching awareness.
The film is born interactively with the viewer. It challenges us to think. As both the Earth and us people are mainly made of water, it is an important element in the film. The dreamlike water imagery and soft soundscape set the pace, allowing for the viewer some needed pauses amid the elaborate contemplation.
…When You Look Away is a meditative experience. In the age of information overload, it feels refreshing to return to the big questions. The film invites us to marvel at the world like children, as children know how to ask the right questions. We might not get the answer to the essence of awareness, but we will get a reminder of how important it is to ask.”
- Carmen Baltzar (Translation: Liina Härkönen)
Experiencing this documentary film felt a little strange at times, but I found it to be an interesting experience overall. The approach to structuring the process of creating the film is intriguing, and some of the subject matter will definitely be something to sit on for a while…
One of the most fascinating moments for me is the speculation around water as the interface between subatomic reality and physical reality.
BM_02 New References
Sound in Experimental Theatre - Workshop 1
7 participants + myself.
3 Y1 BA Sound Arts & Design LCC
1 Y2 BA Sound Arts & Design LCC
1 Y3 BA Sound Arts & Design LCC
2 Y2 MA Performance Design & Practice CSM
The first session of the workshop series brought together artists and practitioners of multiple disciplines.
The conversation was rich and engaging including continuous spontaneous tangents that were made possible thanks to the variety of interests that temporarily inhabited the space.
The interests that the participants expressed in regards to sound in the context of experimental theatre were varied: engagement of the audience with sonic material; improvisation; working with natural materials; activating small sounds; phantom environments; translation of movement into sonic terms and bridging of the moving body & the sonic expressions of it; thinking about space in relation to sound; interdisciplinary theatre making; existentialism and phenomenology in contemporary dance & re-contextualisation of movement; relationship of visual elements and sound; creating sound-based pieces of postdramatic theatre; sound improvisation using objects in a non-anthropocentric way and the potential performativity of objects.
Some really interesting references were brought up during the workshop, and they will be written out and archived (on my blog) at a later time.
The first session was mainly for introductions, context and discussion, whereas next week will be more hands-on. We covered some relevant historical developments, such as the aesthetic legacies of the 20th century avant-garde - discussing the (potential) role of noise, materiality of constructive elements in theatre and affect - moving on to some contemporary examples of sound design in experimental theatre, such as the use of EEG sonification (+ data sonification and digital interactivity in general), ways to diffuse and experience sound. I am expecting some e-mail feedback + ideas for the next session.
Themes for Workshop 2:
Confirmed content for next session (from participants):
Short presentation about 1920s Soviet theatre
Sound in Experimental Theatre - Workshop 2
7 participants + myself.
1 Y2 BA Sound Arts & Design LCC
2 Y3 BA Sound Arts & Design LCC
2 Y1 MA Sound Arts LCC
2 Y2 MA Performance Design & Practice CSM
As there were some people from the first session that did not attend this week and also some new people that did not attend the first one, we went through some of the material that had already been covered previously. This directed us onto a path of new interesting tangents, and the conversation was great food for thought. We spoke about cultural heritage and its influence on our conceptions of theatre and performance making.
The session included a variety of discussions, some hands-on time with binaural sound as well as contact microphones and M4L. We began some interesting movement exercises towards the end of the class, and felt interrupted when running out of time. To be continued...
Confirmed content for next session:
Radia - Strangeness [Resonance FM]
"The Radia Network emerged from a series of meetings, clandestine events, late night club discussions and a lot of email exchanges between cultural radio producers across Europe. The topics vary and the reasons for forming a network are many, but Radia has become a concrete manifestation of the desire to use radio as an art form. The approaches differ, as do the local contexts; from commissioned radio art works to struggles for frequencies to copyright concerns, all the radios share the goal of an audio space where something different can happen. That different is also a form in the making – radio sounds different in each city, on each frequency. Taking radio as an art form, claiming that space for creative production in the mediascape and cracking apart the notion of radio is what Radia does.
It is producing radio stuff that is hard to describe. Some of it can be labeled radio art, or experimental radio, or creative radio. Sometimes it talks, sometimes it doesn’t. It can be noisy, or a kind of soundscape, or a documentary, a document, a talk, a performance. Each and every week, one of the partners will provide the network program, commissioned and produced especially for this purpose : being broadcast by all the partners and made available online.
Some things have to be said about all those partners. They are radio stations, of the independent, non-commercial, community, cultural species. They all speak different languages, and this should create interesting problems. Although initially they were all European radio stations this has changed over time and Radia has become not only larger but also more diverse: 20 partners in 13 countries and growing all the time."
Radia S40 N672 - Resonance FM - Strangeness
STRANGENESS: a documentary composition exploring everyday emergences of weirdness across both human and non-human lifeworlds - a combination of field recordings, interviews and other sonic obscurities that voice perspectives on the absurdity of living.
The broadcast is a contribution from Erik Lintunen - a young sound artist currently studying and working in London - on behalf of Resonance FM.
This broadcast builds on some previous work: DPoT.
R&D Jam #1 + #2 w/ Ka. Louxm
Our creative collaboration has recently consisted mainly of individual work due to our schedules, but we have also successfully found time for two R&D jams. The sessions have been productive, and the broadcast now has a loose structure.
Content-wise everything is steadily coming together. We both should by now know roughly what we are doing.
Check out Ka. Louxm on SoundCloud.
>> Nonlinear dynamics and chaos (1994) <<
>> Terike Haapoja - Entropy <<
>> Cosmology and the arrow of time TEDxCaltech <<
>> Chaos Theory PBS <<
>> BBC Wonders of the Universe <<
Bedtime Monologues [E2: Orbital Resonance] Documentation
A recording of the broadcast can be found above + it can also be accessed on the Resonance Mixcloud: Clear Spot - 16th February 2018.
Bedtime Monologues: a three-part series of semi-improvised radio performances flowing around a specific theme each time. Hosted by Erik Lintunen.
[E2: Orbital Resonance] This episode is a collaboration with Ka. Louxm/Lucas Boetsch and explores the intricacies of space & time through an eclectic mixture of playful improvisation, original compositions and sampled content around the topics.
Includes voices and words from Ariane Pethe, Brian Cox, Brian Greene, Carlo Rovelli, Jeff Forshaw, Patricia Burchat, Sean Carroll, and Stephen Hawking.
Sound in Experimental Theatre - Workshop 3 + Series Documentation
We ended the series in some immersive theatre. Below some highlights from the three sessions.
PSi #24 DAEGU UPDATE
I’ve been accepted to present a paper for PSi 2018 in Daegu, Republic of Korea! More to follow…
Link to proposal (content slightly evolved since submission).
HOME Manchester Residency 12.-16.3.2018
Myself, Anna Nykyri and Louiseanne Wong spent a week as artists in residence at HOME as part of Barbican Open Lab w/ HOME 2018. Work is very much in progress, so don’t want to share too much at this stage. Followed on by a week in the Barbican Pit Theatre (post to follow).
Photos from the week:
Fold. by Lucie Stepankova
I had the pleasure of participating in Lucie's performance, as a part of the folding team. The text below is copied directly from Exhibition : Lucie Stepankova : Fold. 24th & 25th March 2018.
"Lucie Stepankova is an electronic musician and sound artist. Trained by intuition and attentive listening her work revolves around merging field recording and acoustic and synthetic sounds, creating immersive imaginary events in progressive ambient compositions that seek to expose and explore detail within sound. Lucie is interested in creating emotionally vibrant sonic happenings and listening situations. She employs various ways of harvesting inspiration including deep listening, solitary exploration of natural and urban ecosystems, improvisation, movement and literature.
is a two day curated programme including electro-acoustic live performance and multi-media installation. It is a listening environment, a collective space inviting audiences and performers to expand their sonic awareness. Fold. explores the sonority of the ancient tradition of paper folding (origami), its ritual aspects and meditative potential. This work values collectivity, simplicity and the transcendental quality of repetition over a long duration.
In the live performance, a number of performers collectively engage in this meditative practice, together folding a thousand origami cranes (shenbazuru). The performance merges acoustic sounds with a live four-channel electronic composition of the paper folding. This spatial composition mirrors the visceral nature of the practice and enriches the sonic space with respect to the fragility of the acoustic sonic elements. It evolves slowly, almost static, swelling and contracting, slowing down and speeding up, almost silent and penetrating. Something, everything or nothing can happen.
The installation features a four-channel composition of paper folding and the thousand origami paper cranes arranged within the gallery space. The installation features comfortable seating and invites visitors to inhabit, listen and contemplate, and to learn and practice the art of the origami crane folding."
Photos from the weekend (by Lucie Stepankova & Iveta Sedlakova):
Barbican Pit Theatre Residency 26.-29.3.2018
Carrying on work from our week at HOME Manchester. Work developed as part of Barbican Open Lab w/ HOME 2018. The next step for the project is some further R&D. More on this to follow.
Some images captured throughout our time in the theatre (third by Anna Nykyri):
[+ some additional film to be developed.]
Meditating I/Os Tickets On Sale NOW
Bedtime Monologues [E3: Phantom Space] Documentation
The above audio file is a high-quality recording of the broadcast. The episode is also available through the Resonance Mixcloud: Clear Spot - 20th April 2018.
Bedtime Monologues: a three-part series of semi-improvised radio performances flowing around a specific theme each time. Hosted by Erik Lintunen.
[E3: Phantom Space] This episode is the last in the current series, a collaboration with Avsluta/Lucie Štěpánková. She is inspired by the unsounding and barely audible events in the sonic world, deep listening, and solitary exploration of natural and urban ecosystems. Together we explore the subtle boundaries of reality, imagination and dreams through improvisation.
Phantom Field - 202 Gallery Pt. IV: MAPS
Phantom Field is a collaborative exploration into imaginary sonic events through improvisation and interaction with objects and electronics.
Lucie Štěpánková is an electronic musician and sound artist investigating the limits of listening experience and the sonority of materials and objects. By combining synthesis, field recording and improvisation, her aim is to create emotionally vibrant sonic happenings and listening situations. She invites listeners to actively engage in explorations of the detail within sound through introducing repetition and slow progression over extended durations. Erik Lintunen is a young artist based in London, primarily interested in information experience and interaction, creating work in the contexts of digital and live arts. He is interested in systems and their environments, disjunctions of meaning and noise, and augmenting physical reality using technology.
CSM, 4th May 2018, 6-8pm.
Who cares? A radio tale
Spent some time working in collaboration with a group of graduating MA Curating Contemporary Art students from the RCA...
Photo: Martin Ramos.
Meditating I/Os IKLECTIK
FANFARE FOR SATOSHI NAKAMOTO [鉱山]
Four-channel audio, Minecraft objects and soil.
This audio work is based on real-time sonification of the Bitcoin blockchain. The sonic environment of the mining mountain represents data scraped from developer APIs, translating the consensus algorithm into a sensory experience.
Blockchain is based on peer-to-peer (P2P) networking: a decentralised ledger is held and updated by each participant. Network users send each other digital tokens, and transactions are verified by miners solving mathematical problems. This particular algorithm – Proof-of-Work (PoW) – relies on computational power, and the complexity of puzzles is in flux based on the total power of the network, currently accounting for an estimated 0.3% of electricity consumed worldwide. Alternative systems are in development to address this issue, such as Proof-of-Space (PoSpace) that works by allocating disk space rather than computation to run the network.
Version 1.0. Written in Python, using OSCulator to translate OSC into MIDI and Ableton Live/M4L for audio. Requests from Bitcoin Developer APIs.
A radio feature commemorating the first manifestation of Resonance that took place in 1998 on 107.3FM, broadcasting from the Royal Festival Hall in London. The RSL was a month of radio instigated and curated by Phil England and Ed Baxter for London Musicians’ Collective.
TensorFlow Experimentation Pt. 1
1. Source for input data: Reddit.
2. Scraping comments from selected subreddit.
3. Pre-processing. Pairing top level and second level comments.
4. Cleaning data and training model.
Jerwood Staging Series – Radiophonic Workshop
Workshop series. Two sessions.
These workshops aim to explore the creative use of sound in the contexts of radio broadcasting and audio artworks. The sessions engage with a London-based youth group, and work towards conception, development and production of a radiophonic piece using existing youth-run recording facilities, while also providing professional practice insight into the workings of an active community radio station – Resonance FM. The idea is to encourage processes of developing content and experiment with forms in which they could be delivered; learn about the technical aspects of recording and editing audio; develop contextual awareness.
The first workshop was led by Raju Rage, and involved the group visiting Resonance FM, at which I hosted the afternoon talking about creative ways of producing radio as well as giving them a tour of the station and details about its history.
The second workshop is led by myself and planned in collaboration with Holly Graham from Jerwood Visual Arts.
“I felt entangled in the interconnectedness of everything. The mesh had an enticing feel to it, and I did not want to leave. I was becoming indifferent about being taken back in time. I felt alone, but at ease… there was nothing that could violate my personal space. I felt the vibrations of the Earth penetrate my body at a low frequency. For the first time in my life, I felt one with the world.”
I occasionally write short stories, and although they are mostly raw and unrefined some end up being recorded for one reason or another.
is part of a series of immersive, digitally-themed events organized by the Culture and Enterprise programme at Central Saint Martins. These events are intensive one-day hacks, which explore arts-based and creative responses to our digital futures. Expert guests lead workshops and communicate their views on the future of our post-digital world. All delegates contribute to the creative outcomes of the event.
How do bodies and technologies interact? How will this relationship evolve? What influence can our life online have on our appearance and identity?
This Steamhack will propose the idea of bodies as interfaces of our social lives, online and offline, and how bodies act as a space of both compliance and resistance to new technologies. We will look at how we perform technologies, and how these performances are often political. We will use Donna Haraway’s concept of cyborg bodies to interrogate identity and theory.
In order to further your engagement with this brief, there will be talks and workshops lead by resident and visiting experts, including Margaux Portron of Paper Planes, Kasper de Graaf of Images & Co., and David White, Head of Technology Enhanced Learning at UAL.