(I love the passing of time (part II))
The second part of the Re:place exhibition in Sandnes opened Thursday last week at Sandnes kunstforening, featuring works by Eamon O’Kane and Line Bøhmer Løkken. The exhibition is on through November 24.
Tøyen Center is a series of photography by Line Bøhmer Løkken. The construction of Tøyen Center in Oslo in the early 1970s was marked by high ambitions. The key concept of its design was to preserve the qualities of classic urban planning by defining a public space as its core. Simultaneously, the center materialized the idea of future and progress through new physical structures. Today, Tøyen Center exits in many ways as a distorted picture of the glorious vision that was proclaimed when it was opened. Over the last 15 years, Tøyen has developed into a location for marginalized groups in Norwegian society, and almost half of the center’s retail space is empty. We find few traces of the visions that formed the basis for the planning of it, but what has replaced it? What kind of urban space does Tøyen Center represent today?
And time begins again by Irish artist Eamon O ́Kane relates to a derelict plant nursery in Denmark and consists of a series of video works of the interior of the greenhouses. The title is taken from Samuel Beckett’s ‘Text for nothing (1958)’. The Beckett text, read by Jack MacGowan, accompanies footage of different parts of the nursery complex, expressing the friction between the natural and the human made and especially architecture.
IMHO the two additional works not only suplement the works already on show in the Part I at KINOKNO, but effectively change the whole exhibition by offering many new cross-reading of topics, uses of media and artistic strategies between all of the works. I really enjoy what this addition does to the whole exhibition.
(Photos by Jeremy Welsh)
Essentia is an open-source C++ library for audio analysis and audio-based music information retrieval released under the Affero GPLv3 license (also available under proprietary license upon request). It contains an extensive collection of reusable algorithms which implement audio input/output functionality, standard digital signal processing blocks, statistical characterization of data, and a large set of spectral, temporal, tonal and high-level music descriptors. In addition, Essentia can be complemented with Gaia, a C++ library with python bindings which implement similarity measures and classiﬁcations on the results of audio analysis, and generate classiﬁcation models that Essentia can use to compute high-level description of music (same license terms apply).
Essentia is developed by the Music Technology Group at Universitat Pompeu Fabra Barcelona.
The Jamoma 0.6 alpha version development continues, and alpha 25 has just been released. More info here.
At the end of the month I will be participating in Augmented spatiality, a public sound art project for the suburb of Hökarängen in Stockholm in which the artworks, performances and other comprised events are integrated into the social and spatial processes taking place in the public sphere. I will be doing a temporary sound installation at the metro station in Hökarängen, making use of surround sound played back through multiple speakers distributed throughout the space. For me sound spatialisation (the act of locating sound in space by distributing differentiated audio to multiple speakers) serves a multitude of purposes that includes activating relationships between sound and space, and raising the awareness of and sensitivity to place where the listener is situated. I intend that this sound installation might entice the audience to stay for an extended period of time, contemplating both the work and its site.
In 1980, the geographer and urban planner Edward Soja coined the term Spatiality to refer to the quality of the space that is inherently social. Having other terms in language related to the spatial, Soja invented this one to denote the space that was produced as a result of the social life. He reflected that way on the production and organization of the social space following the previous work on the topic by Henri Lefebvre.
On this basis Augmented Spatiality has been conceived as a public sound art project for the suburb of Hökarängen in Stockholm in which the artworks, performances and other comprised events are integrated into the social and spatial processes taking place in the public sphere. Addressing on the formation of social space in the city, the project aims to reflect on the ways in which public art and sound creation is assimilated or not by the networks operating in a specific place.
Augmented Spatiality has grown as a collaborative framework of artists, citizens, institutions and public structures in order that the project itself and its development may highlight the ongoing cultural, educational, economical and political events in this suburb of Stockholm. Different topics covering critical walks, gentrification processes, the idea of the local and variations in time of the soundscape and the landscape make of the project a ground of experimentation whose results will be experienced mainly through the listening sensitivity in Hökarängen, a suburb whose history and present time have additionally shaped the whole process.
The well-known sociologist Saskia Sassen asked herself: How could public space be created in the city through architecture and the practice of the citizens? The author proposes in her dissertation to work in modest spaces outside the heart of the cities; modest spaces that are open and are still permeable to differential processes of acting in the city development.
Augmented Spatiality takes place in Hökarängen, a district in Farsta borough, in the southern suburbs of Stockholm municipality. The most representative area of Hökarängen was designed in the 50’s by the Swedish architect David Helldén, influenced by new English ideas about neighbourhood units and community centres. The planning of the modern Hökarängen started in 1940 when an urban planning competition was announced, the so-called Gubbängs-investigation whose premise was a testing ground for the society of the future. Part of the planning that came up from these premises was the pedestrian street, Hökarängsplan, which was the first pedestrian street ever planned in Sweden and is one of the main venues for Augmented Spatiality project.
The latest issue of the Computer Music Journal (MIT Press) includes an article on the Spatial Sound Description Interchange Format (SpatDIF) by Nils Peters, Jan Schacher, and myself, entitled “The Spatial Sound Description Interchange Format: Principles, Specification, and Examples”.
Here’s the abstract of the paper:
SpatDIF, the Spatial Sound Description Interchange Format, is an ongoing collaborative effort offering a semantic and syntactic specification for storing and transmitting spatial audio scene descriptions. The SpatDIF core is a lightweight minimal solution providing the most essential set of descriptors for spatial sound scenes. Additional descriptors are introduced as extensions, expanding the namespace and scope with respect to authoring, scene description, rendering, and reproduction of spatial sound. A general overview presents the principles informing the specification, as well as the structure and the terminology of the SpatDIF syntax. Two use cases exemplify SpatDIF’s potential for pre-composed pieces as well as interactive installations, and several prototype implementations that have been developed show its real-life utility.
The full paper can be found here. An earlier version of this manuscript was presented at the SMC conference 2012 where it received a Best Paper Award.
More information on SpatDIF can be found here.