2015-04-16 10.56.18

PROGRAM

The program is divided in two parts:

The first day consists of site-specific keynote lectures and performances while the rest of the conference is focused on the participants own audio papers and productions.

Site-specific program: Lectures and performances

Thursday, June 18th offers Site-specific keynote lectures and performances by researchers and artists working in the fields of sound studies and performance studies. 4 sites are carefully chosen for each lecture and performance .The site-specific program is open to the public and starts at 9 am. at Kastrup Søbad on Amager.

Media-specific program: Audio papers

In the workhops Friday and Saturday the 19th and 20th, the participants produce their own audio papers. Here site-specific knowledge from Amager is translated into the media specific form of an audio paper. On Saturday evening and Sunday the participants present their audio papers.

Find Site material for Thursday

Find Info material for Thursday

Find program and schedule for Fluid Sounds

 

THURSDAY JUNE 18th

Registration at Kastrup Søbad

Site-specific conference opening and keynote lecture at Kastrup Søbad:

Holger Schulze
Idiosyncrasy as Method: Reflections on the epistemic continuum

There is a vast multitude of epistemic practices. As researchers we listen while reading, we taste while counting, we are gesturing and dancing around monitors and loudspeakers. The epistemic continuum of research historically never revolved exclusively around the alphanumeric system and its related practices of reading and counting, measuring, computing and writing. Yet, this rather idiosyncratic bias towards letters and numbers, rather obsessively reiterated in the field of academia, still today is actively operating in funding institutions, in research environments and in publishing houses. This lecture (operating, alas – as a quite uncomfortable proof of concept – to a larger extent in the alphanumeric system) will investigate this broader epistemic continuum. Could we identify our respective, individual and sensory idiosyncrasies as the actual core elements in any historical as well as future research methodologies?

Brandon LaBelle
On the productions of a poor acoustics

Expelled, expelling, exiting and then entering: to come up again, against the odds, the ruins the disintegrating myth and the voices of the expelled, expelling, exiting and then entering, again: to speak the unspeakable, to resound to disperse. Shall we follow the idea? Shall we search for a new country? Shall we rewrite the script the future the project: with the potentials and the tragedies and the knowledges of what he and she have called the new hobo nation. The powers of the weak, the fragile, the displaced. And which we might begin to hear as the emergence of a new narrative – the figures that move, itinerant, occupy, and that construct a poor acoustics.

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Site-specific Installations and Performances:

Jeremy Woodruff
Green Interactive Biofeedback Environments (GIBE)

By recycling organic household waste, the people in the urban garden project Urbanplanten, one of Miljøpunkt-Amager’s community sustainability projects, have brought communal fun and healthy food to their neighbourhood through one small example of self-sufficiency and sustainability. In GIBE they make recordings in the garden but also recycle sonic materials – unwanted music files, throwaway CDs, erasure from smartphones – into a “sound compost” which will be edited and processed together with the soundscape recordings, to produce a local audio event. The installation will allow an intimate hearing of the garden and celebrate its work, while beautifying an additional local place, like a school, library or common square. At the installation, gardeners will be able to fine tune the sonic environments they helped create, and interact with them wearing biofeedback devices.   

GIBE is music research into how aspects of urban space can change when societal sound borders are crossed and redefined as local, rather than municipal or private, property. The piece sounds out questions that face this community in their challenging social milieu, between sonic impressions of the new urban garden ecosystem they’ve grown, and waste at the fringes of their digital lives. The experiment is further to discover to what extent it is tenable for such work to benefit a garden community as a supplement to it’s social ecology. Downloadable tracks will be made available on the internet in return for a donation to Urbanplanten. 

urbangardens

Heaven

music4giants prelude

music4giants prelude is a study of the human obsession with human existence, through an immersive environment of syncopated sounds, bodies and spaces. The full sound-composition, which is created by Holger Hartvig from Synd & Skam, will never be experienced in total by the visitors, merely because human beings are not physically large enough to be able to embrace the entire spectrum of sounds created on location. Only beings larger than humans can grasp the full composition, hence the title: music for giants. The performance-installation is a ritual provoking human-centric culture. The piece seeks to lead our attention away from our obsession with the ideas of human existence, human narrative, human satisfaction, human perception. Instead the performance seeks to open a collective creation for a being larger than us; a giant we are not able to see. All involved rooms in the villa, each represent a sound-fragment of a larger composition. A composition which is created for something larger than humans, a celebration of the non-human. Visitors are led through the spaces, with glimpses of sounds, swells of orchestra, humming voices and shattered frequencies

music4giants

HEAVEN is a performance company, which researches themes such as intimacy, longing, transcendence and artificiality, through immersive performance installations. The installations exist in the intersection between sound-art, choreography, performance and installation. The first production by HEAVEN was Five Apartments in 2014.

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Evening reception on Teaterøen / The Theatre Island, Amager.

FRIDAY JUNE 19th

9-17 Workshops: Participants produce their own academic audio papers or installations.

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SATURDAY JUNE 20th

9-17 Workshops: Participants produce their own academic audio papers or installations.

12-13 Hans Sydow presenting at Musiktorvet (Øresundsvej 6) and Lunch in the area for delegates.

Conference dinner and final party.

SUNDAY JUNE 21st

Presentations of audio papers, performances and installations.

Closing remarks and reception

Biography:
Holger Schulze
Holger Schulze (*1970) is full professor in musicology at the University of Copenhagen and principal investigator at the Sound Studies Lab. He serves as curator for the Haus der Kulturen der Welt Berlin and as founding editor of the book series Sound Studies. He is the author of a Theorie der Werkgenese, a generative theory of artefacts in three volumes: Das aleatorische Spiel (2000) −Heuristik (2005) − Intimität und Medialität (2012). He is associated investigator at the cluster of excellence Image Knowledge Gestaltung: an interdisciplinary laboratory at the Humboldt-Universität zu Berlin and founding member of theEuropean Sound Studies Association as well as a guest resercher at the Nordic Research Network for Sound Studies. Since 2011 he is co-editor of the international journal for historical anthropology Paragrana, in 2008 he founded the international research network Sound in Media Culture, 2000-2009 he was a co-founder and the first head of department of the new MA-programme in Sound Studies at the Universität der Künste Berlin.

Biography:
Brandon LaBelle
Brandon LaBelle is an artist, writer and theorist working with sound culture, voice, and questions of agency. He develops and presents artistic projects and performances within a range of international contexts, often working collaboratively and in public. Recent projects include “Civic Center”, La Casa Encendida, Madrid, “Sixth Housing Estate”, South London Gallery, London, and “Hobo College”, Marrakech Biennial parallel project. He is the author of Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary (2014), Diary of an Imaginary Egyptian (2012), Acoustic Territories: Sound Culture and Everyday Life (2010), and Background Noise: Perspectives on Sound Art (2006). He is the editor of Errant Bodies Press and Professor at the Bergen Academy of Art and Design, Norway.

Biography:
Jeremy Woodruff
Jeremy Woodruff is currently on sabbatical as Lecturer and Co-director at the Neue Musikschule Berlin while working as Lecturer in Composition at the KM Music Conservatory in Chennai, India. His current research makes connections between the cognition of musical patterning and politically charged Tamil speeches, between South Indian classical music and urban sound in Chennai, India. His writings have been published by Klangzeitort (Berlin), Journal of Sonic Studies, Interference: A Journal of Audio Culture, Errant Bodies Press, by Verlag für Moderne Kunst (Nürnberg) and elsewhere. His sound installations have been exhibited at the AD Gallery in Bremen, Errant Bodies, European Sound Studies Association 1st International Conference and the Goethe Institut in Chennai. His compositions have been commissioned by the Deutsches Kammerorchester Berlin, Ensemble Decibel (UK) and Ion Sound Project (USA) among others. His scores are published by Neue Musik Verlag Berlin. See www.jeremywoodruff.de

HEAVEN

HEAVEN is a performance company, which researches themes such as intimacy, longing, transcendence and artificiality, through immersive performance installations. The installations exist in the interception between sound-art, choreography, performance and installation. The first production by HEAVEN was Five Apartments in 2014.

On music4giants, the company is shaped by:

Madeleine Kate McGowan – Director and concept

Anna Weile Kjær – Scenography

Holger Hartvig – Sound

Inga Gerner Nielsen – Dramaturg

Sarah Armstrong – Choreography

Rasmus Knutzen Nielsen – Performer

Rasmus Balling Larsen – Performer

Rakel Dimar – Performer

Klara Utke Acs – Performer

Esben Weile Kjær – Performer

Hanna Westling – Performer

Dan Skuflic – Performer

Tao Hansen – Performer

Maya Sofie Brøgger – Video Designer

Jonathan Hjorth – Light

Greta Cinn – Scenography Assistent

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