Thursday, 17 April 2014

Robot Whispers

http://www.minsukim.net/The-Illusion-of-Life

http://www.engadget.com/2014/04/17/illusion-of-life-minsu-kim-synthetic-whispers/

http://thecreatorsproject.vice.com/blog/the-illusion-of-life-machine-can-mimic-human-whispers

Reminds me of the Cronenbergian phone we discussed in Vocalities but also the drive to bond with machines from the Turkle book.

Notice the slight assumption that emotional subtleties are already a form of language, signs or code that can be "imprinted onto senses" - like they are consistent, homogenous and quantifiable things that can exist outside of the user - objectified.

"Breath temperature, humidity, smell, and vocal qualities. It augments emotional subtleties and imprints them onto our senses."


Saturday, 12 April 2014

Marc Couroux at LGS: “Sabotage the Audiostat! Hyperstitional Paracoustics & Chronoportational Pragmètics”

For lines of communication will progressively become cross-institutional circuits, the below…

LONDON GRADUATE SCHOOL with
ART + PHILOSOPHY at CENTRAL
ST. MARTINS will be hosting

“Sabotage the Audiostat! Hyperstitional Paracoustics & Chronoportational Pragmètics”
Marc Couroux (York University, Toronto)

16h-18h on APRIL 15, 2014
Granary Building, E003 (Central Saint Martins)

Music’s amenability to cybernetics is underlined by Claude Shannon, who defined a “singing condition ” as the inability of an automata to recognize its loopy entrapment. Music’s particular affordances, vitalities, and teleological necessities could serve as a model to help ensure a preordained future through the transformation and regulation of extra-musical sound, channelling the impersonal, inhuman death drive (positive feedback) into homeostatic equilibrium (negative feedback). Noise, far from being a nuisance to such cybernetic systems, is in fact essential to periodically restart them. How might an effectively transgressive practice operate given the alien, invasive neuro-military-entertainment avant-garde; what hyperstitional, paradromic methods might hijack and mutate uncommitted affective excess, escaping the reach of capitalist territorialization? This event is intended as a conversation probing the multifarious linkages between music, affective modulation and chronoportation.

Free event, all welcome.


Wednesday, 12 March 2014

Listening Seminar 4 - Sound Works by Women Artists



The MA in Aural and Visual Cultures Presents:
Listening Seminar 4 - Sound Works by Women Artists 

Curated by Diana Policarpo

This seminar will present new audio pieces by a selection of women artists. It features the work of Adrianna Palazzolo, Cara Tolmie, Diana Policarpo, Hannah Catherine Jones, Jenna Bliss, Jenna Collins, Marina Elderton and Nicola Woodham. 

Each of these artists investigate different aspects of sound, in relation to space, atmosphere and the presence or absence of the image. Through a variety of approaches, these works explore notions of multi-vocality, using rhythm, time, formal and informal speech, narrative and noise, both as material and inspiration.

The works have been compiled back-to-back on a playlist, to prioritise collective listening, over discussion. I hope this event, which is married to space and corporeality, will allow us to question the various ways we experience the sonic world. 

Diana Policarpo, 
March, 2014

Adrianna Palazzolo (b. Toronto, Canada) lives and works in London. She graduated with an MFA in Fine Art from Goldsmiths in 2012. Recent group exhibitions include: Emergency6, Aspex, Portsmouth, UK; Adrianna Palazzolo and Ella McCartney, Peter Von Kant, London; .gif, online exhibition, MMOCA (Main Museum of Canadian Contemporary Art); Perspectivism, Slakthusateljéernas, Stockholm, Sweden and Pavilion, Open File, Grand Union Gallery, Birmingham, UK.

Adrianna's practice is largely based on experimentation, focusing in video and installation works. The soundtrack of each of her works are sculptural, where the sound takes precedence over the image in the editing process. This mode of working can be seen as a way to question the patriarchal relationship of sound and image in film making ideologies in direct comparison to feminist politics.


Cara Tolmie is an artist, born in Glasgow currently based in London, who works with moving image, performance, sound and installation. She made two new projects in 2013; Pley, commissioned and produced by Picture This and exhibited at Spike Island, Bristol and Artissima, Turin; and Otiumfold commissioned by Chisenhale Gallery, London and Tower Hamlets. Both used the format of the ‘exercise’ to scrutinise interpersonal relations between groups of performers each navigating their own investigations into play, improvisation and language. She is currently working on new collaborative performances with Patrick Staff for Open File at Outpost, Norwich and Paul Abbott for the Counterflows festival in Glasgow this April. 


Diana Policarpo (b. Lisbon, Portugal), is an artist based in London and recently completed an MFA in Fine Art from Goldsmiths College. Her work can mainly be described as a spatial practice: various media such as drawing, performance, sound, writing and spoken word open up different ways for her to delineate and activate objects and space.

She composes and improvises time-based components for polyrhythmic sound sculptures and performative installations, which deal with the performative role that language and power play, both reflecting on reality and on the trandisciplinary field of cultural production. She is currently working on projects with the female collective Cabiria and her first solo show in Germany will be at the Staatliche Kunsthalle Baden-Baden in July 2014.


Jenna Bliss recently completed an MA at Slade School of Fine Art in London and is now based in New York, NY.  Her current project revolves around the radical political action and drug-free detox at Lincoln Hospital Detoxification Clinic in the South Bronx during the 1970s. 

The audio piece for this listening seminar explores the historical moment and location whilst attempting to utilize the detoxifying capabilities of deep breathing and body heat. The culmination of this project will be a video and series of performances. 


Jenna Collins works across sound, video and text to make visible the ways and means by which the body is continuous with the environment, seeking to reveal the pressures, feedback and aspirations that clutter moments of enunciation. www.jennacollins.com


Hannah Catherine Jones (b. Doncaster 1987) investigates the documentation modes of performance art. Using her (live) operatic voice, she often gives (recorded) vocal presence to documenting devices in the moment of performance. Jones’ investigations into language, specifically her punning titles, have recently enriched her practice. Jones has a BFA and MA from Oxford University, an MFA from Goldsmiths and begins a practice-based PhD at Goldsmiths in September 2014.


Marina Elderton is a self-taught musician based in London. She plays guitar and sings in the two-piece KULL (www.kullmusic.com), and improvises live experimental soundscapes alongside Diana Policarpo and Hannah Jones as part of the female collective Cabiria. 
Drawn to the immersive nature of sound as a mind altering tool, she experiments with raw musical elements, embracing atmospheric minimalism and ritualised cycles to access purer conscious states. She will be playing a song from a new independent piano project C'est Celestial. She is currently studying an MA in Composing for Film at the National Film and Television School. 


Nicola Woodham is a sound, performance and video artist. She creates fictions with the voice as a means to explore forms of surveillance and the notion of the female voice as ‘monstrous’. She recently took part in the Totemic Festival, Freud Museum and FLOWS, Vibe Gallery, London. She is part of a collaborative project Zeros + Ones with artists from Stockholm and London. She also contributes regularly to Electric Sheep film magazine.  www.nicolawoodham.com


The Listening Seminar will take place from 8-10pm on March 25th  at Goldsmiths College in NAB LG01 and it is located in the New Academic building  which is to be found at the rear of the College, behind the quad. 


Wednesday, 26 February 2014

TRANSMÈTIC — Call for Submissions






































Call out for submissions.

Transmètic

Submissions and proposals in any media or mode sought for a night of schizo-disciplinary interchange.

Submissions (under one or several names) could include but are not limited to:
- music/DJ sets/bands
- video
- performance
- happenings
- installations
- 2-D or 3-D
- &c./misc/other

Transmètic will take form over an evening and night in early summer modulating between the abstract/(in)aesthetic through the rhythmic/4-to-the-floor and back again.


Please send a short bio and proposal, approximate dimensions/running time with images and/or links to sound/video. Works should function in a pub/venue environment.

Send to: hello.transmetic@gmail.com
by Sunday 23rd March

Friday, 31 January 2014

The Shining and The Eerie


The MA in Aural and Visual Cultures Presents:

The Shining and The Eerie




Professor Roger Luckhurst, author of the recent BFI Film Classics book on The Shining, in conversation with Justin Barton and Mark Fisher

February 11th

New Academic Building LG02 7-9 pm

Free and open to all. No booking required


Wednesday, 29 January 2014

Cyberlove - Black Mirror S2 EP01

Big thanks to Lisa for flagging this up.

I won't reveal the contents but the episode has big themes about our relationships with technology, cyber simulacra and avatars. Of course, the voice is key...

Watch links here
http://watchseries.lt/episode/black_mirror_s2_e1.html


Monday, 27 January 2014

ASMR - Now used in Veblen Goods Advertisements



I was always fascinated at the luxury/tertiary service bias of ASMR whisperer role plays. It seemed that a majority of ASMR role plays revolved around consumerism. Now Lanvin have made an advert that is basically an ASMR video sans performer webcam.