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
Robert Lippok is born in Berlin in 1966. Studied stage design at Kunsthochschule Weißensee Berlin. Member of curatorial board, 4D sound Budapest, Hungary. Member of Institut für Raumexperimente e.v. Tutor at the Clive Davis Institute of Recorded Music / NYU Berlin works as musician, visual artist and set designer in Berlin. www.raster-media.net/artists/robert-lippok
The Multi-Sensory Essence of Our Existential Experience
31 August 2019
Lecture 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
Silence with the Consent of Sound
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.
1-6 September 2019
Working Session by Hans Peter Kuhn
During our residency with Hans Peter Kuhn, we will discuss with the participants how to spend the upcoming days of the workshop creating sound pieces around the topic of Silence. What is silence? Does silence exist? Where do we find silence?
Or maybe more importantly: Should we be afraid of silence? How can silence be sound? How can we get rid of sound? Do we really have to hear all of this? And how to make an artwork with silence? What is the difference between sound and silence? And does it all make sense? The process will include field recordings that facilitate the lack of sound, as well as providing evidence of the gap of sound in the related environment.
We might be able to answer some of these questions but in any case, we will have a good time creating sound works together, in small groups or as single persons, from acoustic material we will look for in our surroundings.
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.
Hans Peter Kuhn, composer and artist, lives and works in Berlin and Amino (Kyoto, JP). His light and sound installations are exhibited in many museums and galleries or on public sites worldwide, among others at Museum of Fine Arts Boston, Centre Pompidou Paris, Neue Nationalgalerie Berlin, Seattle Art Museum, Tokushima Modern Art Museum. Internationally acclaimed are Lightinstallations in public places, like: The Pier, New York 1996, A Light and Sound Transit, Leeds (UK) 2009, Vertical Lightfield, Singapore 2009, Acupuncture, Mattress Factory Museum, Pittsburgh (US) 2016, Martin-Gropius-Bau, Berlin (DE) 2017. The installation "Memory Loss" by Robert Wilson and Hans Peter Kuhn was awarded with the Golden Lion in Venice 1993. In 2000, he made musics of Sasha Waltz’s renown piece “Körper.” He worked for theatre with directors like Luc Bondy, Claus Peyman, Peter Zadek, Peter Stein and is best known for the music and sound environments he created in the long term collaboration with Robert Wilson. He composed the music for dances by Laurie Booth, Dana Reitz, Suzushi Hanayagim Sasha Waltz and Junko Wada. For this he received the Bessie Award New York and the Suzukinu Hanayagi Award Osaka. Hearing and listening are the themes of his performances, that are shown worldwide. Since 2012 he is Guest professor for Sound Studies and Sonic Arts at the Universität der Künste Berlin. www.hanspeterkuhn.com