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A nice article about the exhibition Translating Ambiance that Salomé Voegelin and I made the sound & text installation, 'And it tastes like hair', for. Curator Jordan Lacey interviewed by Foreground.  Read the article online here: https://www.foreground.com.au/culture/sound-in-the-city-translating-ambiance/  I'm putting together this exhibition as part of CRiSAP, Creative Research into Sound Arts Practice, research centre's, forthcoming festival;
Un-Earthed: A festival of listening and environment. A critical reflection on our relationships with the environments that we share with other people and with other species. This open call invites relational sound works that interrogate our sonic urbanism and sound out our sonic agency within it – works that trigger a hearing below the surface of our urban sonic landscapes in order to find something else within those same vibrations, to hear the unspoken or the cancelled out, the restraints or opportunities that might be found there, demonstrating our possibilities within these often seemingly impermeable spaces.
Full details are here: https://www.crisap.org/2020/04/24/call-for-works-online-sound-art-exhibition/ I'm very pleased to be participating in this in Melbourne next month at RMIT and meeting Jordan, Phill and Polly. Many thanks to Jordan, Rose and the CAST research group! To register for a ticket visit the eventbrite page here.  Image: Polly Stanton, Dam Wall Sound artists interface with sonic environments to provoke changes in the minutiae of everyday life – social, political, aesthetic – as a means to disassemble/reassemble those relations and flows that inform our habitual connections with the world. Three international sound artists – Lisa Hall, Philip Samartzis and Polly Stanton – are invited to RMIT’s Black Box to discuss their sonic practices across urban and wilderness environments, and in relation to human perception. Embodiment, technology, listening and intervention form key approaches of each artist’s interactions with environments and everyday human activity. These practices will be discussed in relationship to immersive audio-visual artworks created by each of the three artists, presented in the Black Box’s state of the art audio-visual system. With discussion guided by Jordan Lacey, audience-participants will have the opportunity to be involved in an open conversation about what a sound art practice is, when realised in the political, social and cultural context of the city.
Lisa Hall is a sound artist exploring urban environments using audio interventions and performative actions, and is affiliated with Creative Research into Sound Arts Practice (CRiSAP) at University of the Arts London. Currently on sabbatical, Lisa is travelling, listening to urban spaces across the globe and developing new practice based research works. Phil Samartzis a sound artist, scholar and curator with a specific interest in the social and environmental conditions informing remote wilderness regions and their communities. Philip is the co-founder and artistic director of the Bogong Centre for Sound Culture and teaches courses in sound art and spatial practice in the School of Art. Polly Stanton is a moving image artist and sound practitioner who’s mode of working is expansive and site based, with her practice intersecting across a number of disciplines from film production, sound design, field research, performance, writing and publication. Polly is a lecturer in the Master of Media program at RMIT University. Jordan Lacey is an urban sound installation artist and author operating at the interface of the sonic arts and urban design. He is author of Sonic Rupture, which offers an affect-based approach to the design of urban soundscapes, and is recent recipient of a DECRA fellowship entitled, Translating Ambiance. CAST, Contemporary Art and Social Transformation https://cast.org.au is the research group within RMIT’s School of Art. This CAST OUT LOUD event is part of our Public Art research stream.  My sound walk work 'Walking with Crickets' is playing in this exhibition 'Live* from CICADA' which is a totally unique version of an online sound exhibition -
CICADA Gallery are exhibiting the work of twenty artists working in sound. Each audio work has been processed with an impulse response recording made within the the physical space of CICADA (an artist-run venue located in Ogden, Utah, America). By treating each piece with the natural reverberant qualities found within the approximately 1,325 cubic foot gallery space, a hypothetical performance takes place where the sonic works made in disparate locations now aurally appear to have been originally performed within the same subterranean structure. The exhibition is actually the recorded document of this conceptual event!  Reel Lives concert series will be playing Virtual Voices, an 8 channel work by Hannah Kemp-Welch & I. This three part concert series is curated by Cathy Lane as part of the Reel Lives exhibition. Book on eventbrite.
Artists include Ain Bailey, Caroline Bergvall, Kate Carr, Viv Corringham, Poulomi Desai, Caroline Devine, Lisa Hall and Hannah Kemp-Welch, Cathy Lane, Lina Lapelyte, Brona Martin, Else M’bala and Karen Power Virtual Voices reviews the current use of automated voices in our cities - considering how human presence is represented through recorded and digitally manipulated sound, and how this is used to direct our behaviour. The work questions how automation has been implemented, re-visioning the positive changes that voice technology could bring to working lives if social good were considered over profit motive. "It seems as if an invisible, disembodied workforce has moved into the cities. A workforce who have replaced certain roles such as train operators, ticket inspectors, check-out sellers and lift operators. They are becoming more and more present, sounding out from new devices, serving new roles, talking more, and more, and more. Yet who are they?" Virtual Voices articulates this workforce: hearing it's many mouths and many heads that speak simultaneously across great distances, hearing it's limited representation of the population, it's gender bias, and it's embodiment in the machinery it speaks from - the lumps of technology now clothed in a sonic human identity. Looking to the future, the work proposes how we could shape a positive automated future - one that doesn't result in mass unemployment or misrepresentation, but supports the anti-work movement's call for "The Right To Be Lazy". In support of this the artists commit their own voices into a hybrid synthetic persona, creating their own virtual workforce to speak on their behalf. Virtual Voices is part of the project Listening for Instruction - a sonic survey reviewing the current position of automated sounds in our cities. Our new work, Listening for Instruction, by myself and Hannah Kemp Welch is now up at Fringe Arts Bath's exhibition 'It Sounds Devicive. Show'. On till June 10 - info here: www.fringeartsbath.co.uk/devicive
If you're not in Bath this week, have a listen online to some extracts and have a digital flip through the zine: Listening for Instruction Hannah and I are showing a new work in this exhibition investigating themes of devices & machines that surround us creating sound all day, every day. More details. 
Great video by ISSTA documenting the conference 'Temporary Autonomous Zones' last autumn.
ISSTA 2016 from Pillarpix Media on Vimeo. Very pleased to have been invited to Sound Traces Moves conference last weekend to share my work Walking with Crickets with dancers, choreographers, musicians and researchers at the Orff Institute, Salzburg, Austria. The full programme is here: 
    19, 20, 21 November
I will be leading two cricket song sound walks and presenting my work Walking with Crickets at Sound - Traces - Moves conference in November. More info coming soon. |
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