2004-02-07
Jeremy Yuille is a media artist working at Royal Melbourne Institute of Technology Australia. He is visiting Bergen at the moment and Monday 10.300 he is presenting his own work at Kunstakademiet. I suppose I get the chance to talk to him afterwards. yesterday he was a special guest at the Network lunches coordinated by Jill. I didn’t have the opportunity to join in this time.
2004-02-07
Jeremy Welsh has announced LYD I FOKUS / SOUND IN FOCUS a two day seminar at The Academyb of Fine Arts in Bergen. I’ve posted the full announcement to BEK_DOT.
I’m going to do a Max/MSP introduction as part of the three week program. The rest of the program seems really interesting as well.
2004-02-06
There was a meeting at the board of BEK today. Per Platau was elected in as a new member of the board so now we are four. In addition all of the staff at BEK participate so it’s starting to get crowded.2004-02-03
Finally I’ve found a short and concise definition of acousmatic music. It’s at the end of the announcement of “Métamorphoses” Competition – Acousmatic Music Composition Competition:
Acousmatic: recorded work composed in studio projected on loudspeakers in concert with no live intervention of instrumentalists.
Musiques & Recherches also provides a more thorough definition. This definition is rather interesting :
The acousmatic listening experience is independent of the visual domain and thus frees the mental images and creative forms of our imagination. Acousmatic sounds heard through a loud speaker with no clue as to what causes them are the basic elements of the acousmatic art and ‘musique concrète’ vocabulary. These sounds called “sound objects” are in fact impressions traces. Organised and liberated from an “explanatory” way of listening they offer us access to emotion sensation metaphor … Therein resides the work of the composer.
Having recently reread Einstein’ Dreams by Alan Lightman (in a Danish translation borrowed ad infinitum from a past composition teacher) I feel that according to this definition acousmatic music tries to free sounds from their physical origin (or the x y z-dimensions) while maintaining a sense of time (t-dimension). In my own music I’ve been striving to free sound from the time axis and the linear narrative setting. I’ve wanted my own music to be experienced in a similar manner to paintings or sculptures. I feel that if I’m to concentrate on the sensual qualities of the sound as an abstract phenomena I have to get inside of the sound not just pass through it.
2004-02-03
Eva Sjuve is one of several curators for the net-collaboration RFF [Remembering-Repressing-Forgetting]. RFF starts of at the Contemporary Arts Museum in Bukarest ( 20/2-15/3) and then travel to the New Media Festival in Bankok Thailand (20-28/3). It will then travel to different locations during 2004.000 Eva’s curating an audio art/electronic composition show that will be streaming from BEK with artists from Bergen and vicinity. The project has a provisional web site here.
Today I’ve been preparing several extracts for her from the Hacker project I did last year in collaboration with Frode Thorsen (recorders) and Gitte Bastiansen (dance with body sensors).
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