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Donna and I celebrated our anniversary this past week by attending the free Monday nights "Downtown Sound" concert at Pritzker Pavilion/Millennium Park in Chicago. This past week's concert was Glen Hansard. He was joined by Lisa Hannigan and members of his old band, The Frames. He puts on a great show that was nearly three hours long. It was a really fun night!
Hello darkness my old friend
I've come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence
Simon and Garfunkel - "The Sound Of Silence"
Photographed by: Jonathan Green
A commission I had, to design and make free-standing hardware for a permanent, interactive sound installation for Cleethorpes Academy, North East Lincolnshire, UK.
The hardware consists of 6 infra-red sensor units and 1 lectern that houses an iPad.
The sensor units pick up and track movement. This is all linked to special iPad software created by David Stevens and Simon Desorgher.
The equipment will predominantly be used to aid music and sound lessons and performances. The interactive system is great for children, as they don’t need dexterity in order to get involved and play with sound.
Sound By Artists
Ouvrage collectif sous la direction de Dan Lander et de Micah Lexier, Art Metropole/Walter Phillips Gallery, 1990
blackwoodgallery.ca/publications/SBA.html
Download it here :
monoskop.org/images/a/ad/Lander_Lexier_eds_Sound_by_Artis...
[Excerpt]
The desire to compile this anthology was driven by the noticeable lack of information and critical analysis regarding an art of sound. Although there has been an abundance of activity centred around explorations into sonic expression, there is no sound art movement, as such. In relation to artists’ works, sound occupies a multitude functions and its employment is often coupled with other media, both static and time-based. As a result, it is not possible to articulate a distinct grouping of sound artists in the way one is able to identify other art practices. As the reader will discover, the ideas and projects put forth between the covers of this book are diverse and at times at odds with one another. The contributors included span many disciplines: critic, curator, writer, composer, video artist, installation artist, visual artist, performance artist and some more aptly described as sound, audio or radio artist. Sound by Artists is a collection of information pertaining to a disparate art form, presented in the hopes of stimulating dialogue.
The terms experimental music and sound art are considered by some to be synonymous and interchangeable. In fact, it is difficult to identify an art of sound precisely because of its historical attachment to music. Although music is sound, the tendency has been to designate the entire range of sonic phenomenon to the realm of music. With the introduction of noise—the sounds of life—into a compositional framework tending towards the ephemeral and avoiding the referential, artists and composers have created works based on the assumption that all sounds uttered are music. Futurist Luigi Russolo, envisioning an all-inclusive music, states in The Art of Noises: Futurist Manifesto (1913) that:
We want to give pitches to these diverse noises, regulating them harmonically and rhythmically. Giving pitch to noises does not mean depriving them of all irregular movements and vibrations of time and intensity, but rather assigning a degree or pitch to the strongest and most prominent of these vibrations. Noise differs from sound, in factm only to the extent that the vibrations that produce it are confused and irregular. Every noise has a pitch, some even a chord, which predominates among the whole of its irregular vibrations. [1]
Noise is considered by Russolo for its expressive musical qualities only and not for any other significant meaning(s) that it may hold. Here, we have a definition of music that considers all (organized) sound as music, limiting the possibilities for an art of sound autonomous from the structures and presuppositions traditionally attached to musical composition and reception. The imposition of a ‘musical template’ onto the sounds that otherwise, in a day to day context, have meanings other than musical ones, leads us to a dead end conclusion: all sound is music. In defense of a music autonomous from noise, Chris Cutler, drummer and critic has written:
But if, suddenly, all sound is ‘music,’ then by definition, there can be no such thing as sound that is not music. The word music becomes meaningless, or rather it means ‘sound.’ But ‘sound’ already means that. And when the word ‘music’ has been long minted and nurtured to refer to a particular activity in respect of sound—namely its conscious and deliberate organization within a definite aesthetic and tradition—I can see no convincing argument at this late stage for throwing these useful limitations into the dustbin…. [2]
The ‘useful limitations’ that constitute and enrich a musical art practice, restrain and limit an art of sound. The stripping away of meaning from the noise of our world constitutes a refusal—to engage ourselves in dialogue with the multiplicity of meanings conveyed by the sounds we produce, reproduce and hear. If a critical theory of sound (noise) is to develop, the urge to ‘elevate all sound to the state of music,’ will have to be suppressed. Noise—your lover’s voice, a factory floor, the television news—is ripe with meaning and content distinguishable from the meaning and content of musical expression. It is this content that constitutes any possibility for an art of sound.
–excerpted from the Introduction by Dan Lander
1. Luigi Russolo, The Art of Noises (New York: Pendragon Press, 1986).
2. Chris Cutler, ‘Editorial Afterword,’ RēRecords Quartlery, Vol.2, No.3 (London: 1988).
Shoreside along the Long Island Sound in Guilford, CT.
See more of Bob's Guilford scenes at www.flickr.com/photos/bobphoto51/sets/72157625248647559/w...
Parry Sound,
Ontario
The 550-passenger Island Queen is the best vessel for cruising Georgian Bay’s 30,000 Islands.
The famous sound suits of Nick Cave. This show called Sojourn. Learned that he was responding to the need for a second skin after witnessing the beating of Rodney King. His first suit was made of twigs and as he wore it he realized they made a soothing noise as the twigs moved against each other which led to making "sound suits" just for the purpose of filming the movement and making sound. Mesmerizing to watch. The sound is hypnotic. I first saw his stuff in SF when my art professor friend Chris came to visit.
More from Milford Sound. It's ridiculous how nice this region is. This is just one of the dozens of waterfalls. Check out the larger versions of this one.
August 2nd GoodKnocking Entertainment Group and C3 Promotions presented live entertainment and an outstanding open mic.
"Soundscapes & Sound Identities"
7th international FKL symposium on soundscape
VII SIMPOSIO INTERNAZIONALE SUL PAESAGGIO SONORO
22 23 24 maggio 2015 @ Castello di Beseno in Trentino
PORTOBESENO 2015 FKL - info
www.portobeseno.it/blog/?page_id=6496
PROGRAM
www.paesaggiosonoro.it/soundscapeandid/prev_programme.php
- IT -
Portobeseno festival 2015 e il Forum Klanglandschaft (FKL), Forum Europeo per il Paesaggio Sonoro, presentano il VII Simposio Internazionale FKL sul Paesaggio Sonoro.
Il simposio sarà ospitato nel castello di Beseno nei giorni 22-24 maggio 2015 e prevede la presenza di decine di ricercatori, musicisti e artisti provenienti da tutto il mondo.
La selezione dei partecipanti è avvenuta tramite un bando internazionale che ha raccolto oltre 180 proposte suddivise in conferenze, installazioni sonore, video, audio performance.
Il tema proposto per il simposio internazionale FKL 2015 riguarda il rapporto tra i suoni che ci circondano e il concetto di identità.
I luoghi, gli abitanti, ma anche i tempi e le diverse pratiche di comunicazione comportano in maniera inevitabile una molteplicità di identità sonore. Con questo tema si vuol proporre una suggestione trasversale a tutte le discipline della scienza e dell’arte che, ognuna secondo il proprio modo di ascoltare, di sollevare i problemi e di dare risposte, si interessano degli aspetti sonori del paesaggio e della relazione con chi in esso abita.
Ospitando “Soundscape & Sound Identies”, il festival Portobeseno offre un'occasione per confrontarsi e stimolare la riflessione intorno al tema dell’identità sonora, per dialogare all'interno della comunità acustica e per offrire una panoramica sugli studi e sulle ricerche sonore internazionali.
- EN -
“Soundscapes & Sound Identities” is the theme of the seventh international symposium on soundscape organized by the FKL (Forum Klanglandschaft)
The symposium is hosted by the festival Portobeseno 2015.
There exists doubtlessly an acoustic identity of places, even in those which, due to the increasing uniformity of the contemporary world, end up being “non-places”; acoustic identity may appear standardized, but is nevertheless present.
The term “acoustic climate” is often used in environmental physics in defining the parameters and quantitative data which characterize an acoustic environment, obviously this term inevitably hints at an idea of identity linked to its measurable aspects.
Bioacoustics and ecology deal with, among other things, the way the acoustic environment, the specific sonic utterances and hearing characteristics of living species represent the identity of a given species, and the way they co-exist and live together.
PORTOBESENO
Il progetto culturale Portobeseno è nato nel 2004 e si occupa di archivi multimediali 2.0, progetti artistici e laboratori creativi aventi per oggetto il territorio, il paesaggio e la memoria individuale e collettiva. I progetti traggono spunto da interviste narrative, ricerche etnografiche, laboratori didattici rivolti alle scuole, da riflessioni sulla memoria orale e sulla conoscenza concreta del territorio, dall’esplorazione dei paesaggi sonori, dalle loro possibili relazioni con il web attraverso lo sviluppo di cartografie virtuali, blog creativi, geoblog, progetti sociali per la Rete. Tali progetti confluiscono nel festival “Portobeseno, viaggio tra fonti storiche e sorgenti web” che produce spettacoli (dal teatro ai concerti di musica elettroacustica) e installazioni multimediali originali e innovative. Il festival Portobeseno propone inoltre riflessioni sui diritti d’autore, la condivisione creativa e sulla percezione del territorio tra reale e virtuale, dalla scoperta di un sentiero nei boschi alla navigazione virtuale offerta da Internet.
Portobeseno è curato da Davide Ondertoller e Sara Maino.
La commissione scientifica di SOUNDSCAPES & SOUND IDENTITIES è composta da: Stefano Zorzanello; Caroline Profanter; Hanke Haun; Lorenz Schwarz; Francesco Michi; Albert Mayr per FKL e Sara Maino per PORTOBESENO.
La commissione artistica è composta da: Gabriele Proy; Francesco Michi; Caroline Profanter; Bernadette Johnson; Mechi Cena; Stefano Zorzanello per FKL e da Sara Maino per PORTOBESENO
Open Air im Kreml-Kulturhaus: Trio Voyage Gitane - © Michael Schultes Photography - www.schultes-photo.de
The sound guy for the Smithereens - he took his job seriously - always adjusting. Good to see someone dedicated to their craft.
Embryo (Munich, Germany) - 1991
Live at
Autonomes Kulturzentrum Metzgerstrasse Hanau
.
SQUAT - SOUNDS *
AUTONOMES KULTURZENTRUM HANAU
(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).
Photographs 1987-1994
- Please scroll down for english and german info) -
The Squat - Photos:
www.flickr.com/photos/sterneck/sets/72157627799174125
Squating the Parliament (1988):
www.flickr.com/photos/sterneck/sets/72157627923787960
Concert-Photos 1987-1988:
www.flickr.com/photos/sterneck/sets/72157627799191443
Concert-Photos 1989-1990:
www.flickr.com/photos/sterneck/sets/72157627923799072
Concert-Photos 1991-1992:
www.flickr.com/photos/sterneck/sets/72157627923811302
Concert-Photos 1993-1994:
www.flickr.com/photos/sterneck/sets/72157627923815978
- Concert-Photos 1991-1992:
Cage-Sterneck-Project (Hanau) - 1991/92
Charles Hayward (London, England) - 1992
Embryo (Munich, Germany) - 1991
Girls against Boys (Washington, USA) - 1992
Hadayatullah Hübsch (Frankfurt, Germany) - 1991
In den Wolken schwebende Gänse II (Hanau, Germany) - 1991
Kaktuxxe (Hanau, Germany) - 1992
Medusa (Amsterdam?; Netherlands) - 1992
Peter Brötzmann (Wuppertal, Gemany) - 1991
The Ex (Amsterdam, Netherlands) - 1992
The Honkies (London, England) - 1992
Tom Cora (New York, USA) - 1992
..... and Friends and .....
.........
There were a lot more bands playing in the squat.
If you have photographs or recordings - please get in contact:
contact@sterneck.net
Thanx! *
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THE SQUATED AUTONOMOUS CULTURE CENTER
METZGERSTRASSE / HANAU
In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.
Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.
The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.
At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:
- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.
- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.
- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.
In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.
If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.
The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.
Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.
But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.
Wolfgang Sterneck, 2001.
Autonomes Kulturzentrum
Metzgerstrasse 8, D-63450 Hanau, Germany.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:
- www.sterneck.net/john-cage/metzgerstrasse-e
- * -
SUBVERSIVE SOUNDS *
Konzerte im Autonomen Kulturzentrum Hanau.
Das besetzte Haus
Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.
Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.
Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.
Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.
Selbstbestimmte Kultur ohne Kommerz
Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.
Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.
Freiräume statt Parkplätze
Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.
Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.
In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.
Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.
Wolfgang Sterneck, September 2011.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:
Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau
- www.sterneck.net/squat/metzgerstrasse-d
English Info:
The squated Autonomous Culture Center Metzgerstrasse Hanau
- www.sterneck.net/squat/metzgerstrasse-e
Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:
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OCHS Sound Check
At Bend A Cappella Festival
February 2023
Be sure and checkout the school website at OCHSPioneers.org and our Facebook page for news and updates.