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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. A new sound installation 'Pillars' at Profound Sound Festival. Payers Park slide, Saturday 13th Feb, 12-7, A performance of musical pillars from the 500 year old Vittala temple situated in Hampi, India. The temple was designed with granite stone pillars that, in addition to holding up the roof, were positioned and shaped to resonate different musical notes when played. They are sounded using a tapping technique, similar to that of playing a piano. In effect the entire structure is one large musical instrument, which is an inspiring example of sonically led architecture. This sound work is a short composition made from recordings of tour guides re-enacting the historical music played on these pillars. Installed in the MUF architect's Payers Park, the audio performance of musical pillars plays out from within a 'sonic structure', a pipe and horn half submerged in the hillside. Profound Sound presents an eclectic programme of live bands, experimental music, installation sound art, theatre, talks and workshops. We invite you to explore new sounds, new ways of hearing and consider the future of our audio landscape in a series of events show-casing some of Kent’s finest contemporary artists and musicians. Feb 12 & 13 http://folkestonefringe.com/2016/profound-sound https://www.quarterhouse.co.uk/festivals/profound-sound/  |
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