MODULE #1 (17 - 24 August 2019)
Nothing Breaking the Losing
17 - 23 August 2019
Working Session guided by Juliana Hodkinson
During our residency, we will proceed from concepts of resonance and silence, working both with aspirations towards sustained states, ideals, and transcendence, and towards insufficiencies and the collapse of meaning that occur when silence breaks into fluid articulations. Creating and sharing experiences of resonance and silence in a participatory and social spirit, we will be creating social and sonic assemblages. Using hesitation as a radical disruptive narrative, we will work with constructing, decomposing and recomposing an initial performative score, Nothing breaking the losing, by Juliana Hodkinson. There will be lots of work with space and objects, and there will be a dark session, a movement session and an outdoor session (whatever the weather), a loud session, a quiet session, a very quiet session, and of course a silent session.
Course materials: Instruments of any kind are welcome, but instrumental or formal musical knowledge are not required, and there will be scope for all participants to work sonically with a range of objects and physical materials as well as spoken word and technologies of amplification.
Juliana Hodkinson works as composer and sound artist, and critical explorer at large. She received her PhD in musicology from the University of Copenhagen with a thesis on silence in music and sound art, and presently teaches composition at the Royal Academy of Music in Aarhus, Denmark. She works with instruments, electronics and amplified objects such as matches, threads and water. Recent works include All Around, an orchestral work with distributed musicians and surround-sound field recordings, and the word-score Something in capitals, for voices and instruments. Her work has been commissioned by the BBC, Westdeutscher Rundfunk, the Darmstädter Ferienkurse, Chamber Made Opera and Phønix16, amongst others. Her writings have appeared in MusikTexte, Musicology Research, Seismograf and the Bogazici Chronicles. www.julianahodkinson.net
August 24, 2019, 14:00 - midnight
Performance by Emma Howes
Separate the tears from the water …
they will come back to haunt your trees.
The Dancing Plague of 1518 was a phenomenon of collective dancing mania that occurred in Strasbourg. The outbreak began when Mrs. Troffea began to dance fervently in the street. Her manic movements lasted somewhere between four and six days, but within a week thirty-four others had joined, and within a month over four-hundred people were taken by this torrential force. In an attempt to halt the epidemic, the government arranged for an orchestra as accompaniment to the movement. Their efforts failed, and eventually many people died, collapsing from heart attacks, strokes, or physical exhaustion. This dance epidemic happened in silence, yet most likely there was music in their minds. Contemporary performer Emma Howes will present a new piece by taking this historical event as her cue.
No previous experience required.
Emma Waltraud Howes (CA/DE) works as a translator between movement and form. Her interdisciplinary works manifest as multiple reconfigurations of the body and space informed by her background in dance, performance theory, and the visual arts within the framework of a conceptual art practice. Her labour is guided by observations of gestures with a focus on the development of an expanded choreographic practice incorporating public interventions, kinaesthetic and architectural research, and an underlying drawing component in the form of graphic scores for performances as compositions representative of a stage in the development from concept and intention to depiction and effect.
Recent and upcoming solo presentations include: Scores for Daily Living, ZIL, Moscow (2019), The Nine Returns to the One, The Place, London and Centrum, Berlin (2018), dreiküchenhaus: Labour, Ritual, and Civilization, Hamburg (2018), Scores for Daily Living, Kunstmuseet Nord-Trøndelag, Namsos (2018). She has performed with and for: ‘Ten Days Six Nights’, Joan Jonas, Tate Tanks, London (2018); ‘Dynamis’, Georgia Sagri, Documenta14, Kassel (2017); ‘Liminals’, Jeremy Shaw, Venice Biennale (2017); ‘Symphony for a Missing Room’, Lundohl & Seitl, Martin-Gropius-Bau, Berlin (2016). Howes leads workshops for artist and dancers alike, including: Alive ... & then Some, Ateneu, Porto, and Martin-Gropius-Bau, Berlin (2018), and is currently working towards a lucid opera with Just In F Kennedy. www.emmawaltraudhowes.com
MODULE #2 (24 August - 11 SEPTEMBER 2019)
24 - 30 August 2019
Working Session guided by Ali M. Demirel and Robert Lippok
This is a session of hunt for physical evidences of the senses in the wilderness. A hunt to progress our sight and our aural capacities to reflect in the current life.
Taking the work of the of the American composer Pauline Oliveros as a starting point in an unusual, unanticipated and experimental listening session, with the guidance of Lippok, we will explore the relationship between the body, silence in different environments of sound reflection. Be it the caves of our own bodies or the environments, or the collected materials such as branches, spray and leaves, we will explore the sonic and tonal quality of the found objects and create different layers musical structures by bending, braking, crushing. By amplifying the sounds we’ll observe the bleeding edge between sound and silence. Later we arrange the created them to short sound pieces and build playable instruments / sculptures out of them. The outcome will be several sound pieces and temporary sound sculptures. (Musical knowledge is not required, handheld audio recorders or smart phones with recording abilities are welcome. )
In parallel, with Demirel, we will deconstruct his Rockforms series and explain students how I mix this visual content by transitions and layering. Using those being produced without sound, we will then experience different performance methodologies with different kinds of music/sound works and observe how a auditory and visual connection is created. Next stage will be gathering for new visual material in our surrounding, while Lippok is hunting for his new sounds. In the final stage, we will compose this new content to be connected/performed with Lippok’s input.
Session Requirements: Bring a jumper or / and jacket, we will be out in the woods at night, it might get chilly. Additionally, cameras and computers are more than welcomed. For those who have mac computers will have access to software 2V-P, which is developed by Demirel (www.2v-p.tv). Demirel’s Rockforms images can be selected and used from: www.ali-m.de/works/rockforms
Born in 1972, Turkey, Ali M. Demirel is a visual artist with educational background in Architecture and Nuclear Engineering. Producing in various formats, he focuses on minimal imagery and structural compositions. His concepts are often driven from science, nature and architecture. Demirel also designs and performs audio visual live shows in collaboration with Richie Hawtin aka Plastikman. Reflecting his background in physics and architecture, he has established a unique visual style with minimal electronic music. Lives and works in Berlin since 2008. www.ali-m.de
Avant-garde German visual artist and composer Robert Lippok has been an influential player in Berlin’s thriving experimental music scene from a very early age. In 1983, he co-founded dissident punk band Ornament und Verbrechen with his brother Ronald, inspired by industrial trailblazers Throbbing Gristle. An open platform to explore jazz, electronic, and industrial concepts with like-minded collaborators of the East German underground persuasion, the group remained active until the mid-1990s, at which point it was overtaken by the brothers’ next and most well-known collaboration, the palindromic To Rococo Rot. A significant post-rock/electronic outfit started by the Lippok brethren and Düsseldorf bass guitarist Stefan Schneider, the Krautrockish band ushered in a new generation of electronic acts committed to acoustic investigations and improvisation of all stripes.
Known for his expansive imagination, inventive rhythmic reflexes, and layers of fuzzy tones, Lippok’s solo work is just as wide-ranging – from funky, glitch-y, twisted techno record Redsuperstructure for Raster-Noton (2011), to stage design for operas, gallery exhibitions, and notable collaborations with Olaf Nicolai, Doug Aitken, Ludovico Einaudi, Klara Lewis.
The Multi-Sensory Essence of Our Existential Experience
22-24 August 2019
Lectures by Juhani Pallasmaa
The defensive and unfocused gaze of our time, burdened by sensory overload, may eventually open up new realms of vision and thought, freed of the implicit desire of the eye for control and power. The loss of focus can liberate the eye from its historical patriarchal domination and can give freedom to our other senses.
Juhani Pallasmaa is a Finnish architect and former professor of architecture and dean at the Helsinki University of Technology. Among the many academic and civic positions he has held are those of Director of the Museum of Finnish Architecture 1978-1983, and head of the Institute of Industrial Arts, Helsinki. He established his own architect's office – Arkkitehtitoimisto Juhani Pallasmaa KY – in 1983 in Helsinki. From 2001 to 2003, he was Raymond E. Maritz Visiting Professor of Architecture at Washington University in St. Louis, and in 2013 he received an honorary doctorate from that university. In 2010-2011, Pallasmaa served as Plym Distinguished Professor at the University of Illinois at Urbana- Champaign, and in 2012-2013 he was scholar in residence at Frank Lloyd Wright's Taliesin. Pallasmaa has also lectured widely in Europe, North and South America, Africa and Asia.
His exhibitions of Finnish architecture, planning and visual arts have been displayed in more than thirty countries and he has written numerous articles on cultural philosophy, environmental psychology and theories of architecture and the arts. Many of his articles are first featured in ARK (The Finnish Architectural Review). Among Pallasmaa's many books on architectural theory is The Eyes of the Skin – Architecture and the Senses, a book that has become a classic of architectural theory and is required reading on courses in many schools of architecture around the world.
Pallasmaa is a member of the Finnish Association of Architects, and an honorary Fellow of the American Institute of Architects. During the spring of 2010, Pallasmaa, along with American playwright Leigh Fondakowski, was an Imagine Fund Distinguished Visiting Chair at the Institute for Advanced Study at University of Minnesota. Pallasmaa was jury member for the 2014 Pritzker Architecture Prize. His architectural work include Kamppi Centre (under the direction of architects Helin & Co), Helsinki, Snow Show, Lapland (with Rachel Whiteread), Bank of Finland Museum, Helsinki, Pedestrian and cycle bridge, Viikki Eco-village, Helsinki, 2002. en.wikipedia.org/wiki/Juhani_Pallasmaa
In the Silence with Diligence
31 August - 1 September 2019
Working Session guided by Zen Masters Ji Woo & Sun Woo
Zen Masters Sun Woo and Ji Woo have been working with the inter-changable nature and transformation capacity of sound and its results on the human body, environment and the instruments itself since 25 years. In Buddhism Boddhisatva Guan Yin reahed the enlightment through listening to sound. In this workshop we will learn to listen not just with our ears but with our inner being, we will learn to use the sound to heal ourselves, calm and control our minds, reach at the deepest recesses of the mind and to activate our inner power. Filling all the empty ‘lots’ in our bodies with sound, we will experience turning our attention from outwards to inwards and make a step forward to discovering ourselves.
Sun Woo has been working as a spiritual guide for the last 30 years. He’s trained in South Korean temples for many years. His long practical experience, combined with his Buddhist training led to his extraordinary healing power. He has strong level of empathy, and a loving personality. His guidance made life-changing transfers in his student’s lives. His teachings are not only limited to Zen but also open to all beliefs and cultures. Ji Woo left her successful business career in London to help people in their journey of life. She has a gentle approachable attitude and genuine desire to help, and has enabled many people to change their lives for the better. She has created many personal development programmes. They use sound as the main element in their zen practices. They are currently living in Ida Mountains in West Turkey.
Soundscapes for the Future
3-6 September 2019
Working Session by Peter Cusack
Cusack’s sessions are concerned with the questions, “What soundscapes can one imagine for the future in what places?”; ‘What soundscapes result from sudden environmental change?”; “How might such altered soundscapes impact on our fellow species as well as ourselves?”; “What responsibilities do we have for future soundscapes?”
Session Requirements: Bringing handheld audio recorders (Zoom, Olympus, etc.) or smartphones with recording abilities are more than welcomed. Participants are expected to join the session with their own laptops and download some simple sound editing freeware (such as Audicity). It is advisable to get used to basics of the programmes prior to the session.
Peter Cusack is a field recordist and sound artist/musician with a long interest in the sonic environment. He is a member of CRiSAP (Creative Research into Sound Art Practice) at the University of the Arts, London and is based in London and Berlin. In 1998 he initiated the “Favourite Sounds Project” to discover how people interact with the soundscapes of the places where they live, carried out initially in London and subsequently in Beijing, Birmingham, Manchester, Prague, Hull and Berlin. The project ‘Sounds from Dangerous Places’ (described as sonic journalism) investigates the soundscapes of sites of major environmental damage such as the Caspian oil fields and the Chernobyl exclusion zone, the restoration of the Aral Sea, Kazakhstan, and logging in the Bialowieza Forest, Poland. He produced 'Vermilion Sounds' - the environmental sound program - for ResonanceFM Radio, London and was DAAD artist-in-residence in Berlin during 2011/12, where he instigated ‘Berlin Sonic Places’ a wide-ranging collaborative project on the theme of urban soundscapes and city development. Musically he plays guitar with field recordings and photographs in performance. He had played numerous concerts worldwide and collaborated with many international improvising musicians, including Clive Bell, Nic Collins, Alterations (David Toop, Steve Beresford, Terry Day, Peter Cusack) and Viv Corringham. CDs include Your Favourite London Sounds (Resonance); Baikal Ice (ReR PC2); Favourite Beijing Sounds (KwanYin 022); Sound from Dangerous Places (ReR PC3&4); Favourite Berlin Sounds (ReR PC5). www.favouritesounds.org www.sonic-places.dock-berlin.de/?lp_lang_pref=en&page_id=6 www.crisap.org/people/peter-cusack