From: Sandra Naumann (email suppressed)
Date: Mon Aug 17 2009 - 05:05:43 PDT
here some information about our current project on sound-image relations including an exhibition, a symposium and a comprehensive publication.
The exhibition includes works by Jordan Belson, Mary Ellen Bute, Tony Conrad, Martin Arnold, Peter Kubelka, Steina Vasulka, Alvin Lucier, George Brecht, Throbbing Gristle, Granular Synthesis, Carsten Nicolai and many many others...
SEE THIS SOUND
EXHIBITION / WEB ARCHIVE / SYMPOSIUM
The project SEE THIS SOUND explores the past and present of the link between image and sound in art, media and perception. The starting point is the fact that our world of experience today is marked by an omnipresence of audiovisual products and structures, in which the cultural production of image and sound is closely intertwined artistically, and in terms of media technology and market strategy. SEE THIS SOUND reacts to this by presenting and discussing different realizations of contemporary art and art studies. The current fields of reference range here from pop culture to the theory of perception and media technology.
1.) SEE THIS SOUND: SYMPOSIUM
Sound-Image Relations in Art, Media and Perception
2-3 September 2009
Ludwig Boltzmann Institute Media.Art.Research.
The goal of the international symposium is an interdisciplinary exchange among the theoretical and aesthetic thematic fields of the project. At the intersection of different academic disciplines the conference touches, among others, on art and music studies, media and art theory, media archeology, and the history of media technology. Artistic presentations are integrated in the course of the conference to stimulate the dialogue between art and science.
Wednesday, 2 September, 2009, 7:30 pm
7:30 pm Starting Performance
Branden W. Joseph in conversation with Tony Conrad
followed by a performance by Tony Conrad
Thursday, 3 September, 2009, 10 am - 7:30 pm
10:00 â€“ 10:30 Introduction
Dieter Daniels, Leiter Ludwig Boltzmann Institute Media.Art.Research, Linz
Sandra Naumann, Academic Staff Ludwig Boltzmann Institute Media.Art.Research, Linz
10:30 am â€“ 12:30 pm Panel 1
Media Art â€“ Visual Art: Divergence or Dialogue?
Christian HĂ¶ller, author, curator, editor and co-publisher springerin, Vienna
â€žDeaf Dumb Mute Blind. Zum kĂĽnstlerischen Umgang mit (popkulturellen) Bild-Ton-Beziehungenâ€ś (Deaf Dumb Mute Blind. On artistic ways of dealing with [pop cultural] Image -Sound Relations)
Chris Salter, Assistant Professor of Digital Media Concordia University, Montreal
â€śSaturation versus Silence: Audio-Visual Perception in the Visual and Media Artsâ€ť
David Rokeby, Artist, Toronto
â€śLife in the Feedback Loopâ€ť
2:00 pm â€“ 4:00 pm Panel 2
Art, Science and Technology: Instruments or Artworks?
Birgit Schneider, Dilthey Scholarship of the Fritz Thyssen Foundation, University of Potsdam, Institute of Arts and Media
"Von hĂ¶renden Augen und sehenden Ohren. Elemente einer Geschichte der MedienĂ¤sthetik unterschiedlicher VerhĂ¤ltnisse von Ton und Bild" (Of hearing eyes and seeing ears. Elements of a history of the media aesthetics of different relations of sound and image)
Yvonne Spielmann, Chair of New Media, University of the West of Scotland, School of Creative Industries, Glasgow
â€śEarly Video Tools - Some Reflections on Co-Creativityâ€ť
Golan Levin, Artist / Associate Professor of Electronic Art and Director of the STUDIO for Creative Inquiry at Carnegie Mellon University, Pittsburgh
"On the creation, experience and research of audiovisual interactive art"
a conversation with
Katja Kwastek, Vice-Director Ludwig Boltzmann Institute Media.Art.Research., Linz,
5:00 pm â€“ 7:00 pm Panel 3:
Art and Music: Intermediality â€“ Intermodality â€“ Interdisciplinarity?
Branden W. Joseph, Frank Gallipoli Professor of Modern and Contemporary Art, Columbia University, New York, Department of Art History and Archaeology
â€śBiomusic and the End of Representationâ€ť
Helga de la Motte-Haber, Technical University Berlin, Institute of Language and Communication, Department Musicology
â€śAugenmusik â€“ HĂ¶rbilder. Laudatio fĂĽr den PreistrĂ¤ger des Media.Art.Research Awardâ€ť (Eye Music - Audio Images. Laudatio for the prize-winner of the Media.Art.Research Award)
Winner Media.Art.Research. Award 2009 for â€śEye hEar: Music, Art, Film & the Culture of Synesthesiaâ€ť:
Simon Shaw-Miller, Senior Lecturer and Head of School, School of History of Art, Film & Visual Media
Birkbeck College, University of London
â€śSyncretism: Art and Music in the Modern Periodâ€ť
7.00 pm Closing Performance
Mikomikona (Birgit Schneider & Andreas Eberlein, Berlin)
â€žFouriertransformation I + IIâ€ś (Fourier Transformation I + II)
Sound-Vision performance with two overhead projectors
Overall Director of the Conference: Dieter Daniels and Sandra Naumann
An event in conjunction with SEE THIS SOUND
A cooperation between the Ludwig Boltzmann Institute Media.Art.Research. and the Lentos Art Museum Linz with Linz 2009 European Capital of Culture
Ludwig Boltzmann Institute Media.Art.Research.
Lentos Art Museum Linz
2.) SEE THIS SOUND: EXHIBITION
Promises in Sound and Vision
28 August 2009 â€“ 10 January 2010
There are sounds and noises all over the museum, as artists today take an engagement with the sound of this world for granted. The former predominance of the visual has meanwhile been replaced by a multifaceted interplay of image and sound. See this Sound documents this development from the perspective of visual art and refers to the respective contemporary discussions and promises.
In eight sections the exhibition focuses on important milestones and historical-social points of reference, but without imposing a linear development. Starting from the filmic sound visualizations of the 1920s â€“ so-called Eye Music â€“ it traces the topos of traversing genre boundaries in the 1960s and questions psychedelic trance machines and multimedia sound environments about their social-political potential. The illusion of a â€śnaturalâ€ť interplay of image and sound, for instance in Hollywood movies, is countered by works that disclose the discrepancies of this purported synthesis, all the way to the loss of sound and the power of speech. In addition, there is a special focus on the local production conditions of sounds (industrial cities and industrial sounds), and on sound as a medium of institutional critique.
Collaboration with the Ludwig Boltzmann Institute Media.Art.Research has also enabled the scholarly treatment of specific media history issues presented within the framework of a web archive and in the exhibition.
Artistic and Scientific Lead: Stella Rollig und Dieter Daniels
Curator: Cosima Rainer
Assistant Curator: Manuela Ammer
Project Coordination: Veronika Floch
Scientific Collaboration: Sandra Naumann
3.) SEE THIS SOUND: WEB ARCHIVE
online from 28 August 2009
The interdisciplinary and trans-genre character of the project is especially conveyed within the framework of an online platform on the subject of sound-image relations (bilingual German-English).
This interdisciplinary field of knowledge has previously only been explored from the perspective of separate disciplines. For this reason, the audiovisual handbook pursues the goal of establishing a trans-disciplinary knowledge base of image-sound relations with contributions from experts. Specialists from art history, musicology, film theory, media studies, theater studies, pop theory, cognition psychology and neurology contribute their respective perspectives to an â€śaudiovisuologyâ€ť as an area of intersection between these academic fields. Text contributions from research work in the Institute are conjoined here with essays from external authors.
On the basis of thematic focal points, a multitude of artist and theoretical standpoints are linked with one another and related to historical and scientific information. The entire spectrum of audiovisual arts and phenomena is presented with historical longitudinal sections and systematic cross-sections in 35 lexicon entries. Longer essays provide a more in-depth discussion of interdisciplinary themes. Examples of work are documented audiovisually and commented on and contextualized academically. Audiovisuality is thus at once the theme and the method of the online platform.
The lexicon entries and audiovisual work examples that are coordinated and linked with one another through key words and time sections thus result in an overall view opening up new conjunctions of meaning. This procedure also enables overlapping and interlinking the artistic and academic elements of the project and developing new directions in the multimedia communication and representation of science and art.
The academic texts from the online platform will also be published as a book.
Editors: Sandra Naumann & Dieter Daniels
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