Posts tagged sound art

Song Books recording, December 26 2012 on Resonance

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There will be a broadcast on Resonance Radio, 104.4 fm London and online, on Boxing Day, the 26th December, of Stefan Szczelkun’s arrangement and direction of a performance of John Cage’s magnum opus ‘Song Books’ that took place at Toynbee Theatre in Aldgate earlier this year. The programme will start at 5pm, with ‘Song Books’ broadcast between 5.30 and 6.32pm. The programme will end with Stefan reading a selection of rites from ‘Nature Study Notes’, 1969. This little publication, hand-written by Cornelius Cardew, was given to everyone who joined the Scratch Orchestra and was the main common literary reference for concert performances. This leads into the next stage of the research which will go on from Cage to explore the working methods of The Scratch Orchestra. There is also a review of the performance coming out in the February edition of The Wire.

Rorschach Audio talks

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Joe Banks, former AHRC Research Fellow at the Institute, is out and about over the next month or so, promoting his Rorscach Audio project. The Times Literary Supplement has reviewed the “Rorschach Audio” book as “engaging… packed with interest” (TLS 5707, page 30), the project’s research archive is also on-line, and talks are now confirmed for The ICA, London, 15 Sept 2012 (as part of the closing events for Bruce Nauman’s exhibition “Days”) and at the Liverpool Biennial, 6 Oct 2012, organised by Mercy.

“Rorschach Audio – Art & Illusion for Sound” Book Release

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“Rorschach Audio – Art & Illusion for Sound” by Joe Banks – “The earliest form of sound recording technology was not a machine but was written language…” (page 96)

What are the connections between Leonardo da Vinci and Dick Whittington, between the BBC Monitoring Service and punk band The Clash, between wartime military intelligence work, visual arts theory, battle management systems, Spiritualism, radio and recording technology and criminal witness testimony? What role do JG Ballard, Osama bin Laden, William Burroughs, Jean Cocteau, Jean Genet, Adolf Hitler, William Hogarth, Victor Hugo, Joe Meek, Pope Pius XII, Primo Levi, proto-Surrealist writer Raymond Roussel, teenage criminal Derek Bentley, Sigmund Freud and crystallographer Louis Albert Necker play in the disentangling of mysteries of human perception?

“Rorschach Audio” is a work of contemporary cultural scholarship and an exploration of the art and science of psychoacoustic ambiguities. Part detective story, part artistic and cultural critique, “Rorschach Audio” lifts the lid on an array of fascinating and under-examined perceptual and political phenomena.

“Rorschach Audio” is essential reading for everyone interested in air-traffic control, anechoic chambers, artificial oxygen carriers, audio art, bell-ringing, cocktail parties, cognitive science, communications interference, compost, the death penalty, Electronic Voice Phenomena, evolutionary biology, experimental music, ghosts, the historiography of art, illusions of sound and illusions of language, lip-reading jokes, nuclear blast craters, predictive texting, singing hair, sonic archives, sound design, steam trains, tinnitus, the Turing Test, Victorian blood painting, visual depth and space perception, ultrasonic visual music, ventriloquism, voices and warehouse fires and robberies.

Trade distribution by Turnaround
Production by Strange Attractor
Published by Disinformation

ISBN 978-1-907222-20-7
Hardback, 191 pages
UK £10 Non-Fiction
Psychoacoustics, Art Theory

RELEASE DATE MONDAY 21st MAY 2012

Rorschach Audio talk, Wednesday 7 December 2011

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‘Rorschach Audio: Mysterious-devil-tale, Devil-bewitched-by-Death’
Wednesday 7 December 2011, 1.15pm – 2.45pm
Room 359, University of Westminster, 309 Regent Street, London W1B 2UW

Following on from the “Rorschach Audio” lecture demonstration presented to the IMCC in March 2011, and, in particular, that lecture’s discussions of Jean Cocteau, Salvador Dali, EH Gombrich, Primo Levi and Leonardo da Vinci, visual and sound artist Joe Banks presents further explorations of the influence of “Rorschach Audio” phenomena on contemporary literature and creative art. This presentation directly extends the material discussed in the previous lecture, so any guests not familiar with the earlier talk are encouraged to read the “Rorschach Audio” research publications available here…

http://muse.jhu.edu/journals/lmj/summary/v011/11.1banks.html
http://www.slashseconds.org/issues/002/004/articles/jbanks/index.php

Non-Westminster staff and students should RSVP Joe Banks at: j.banks@wmin.ac.uk

Usurp + Disinformation – सूर्य किरण – [Promo]*

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Another fine video from the Institute’s AHRC Research Fellow Joe Banks (Disinformation):

Film copyright © Joe Banks & Poulomi Desai 31 Oct 2011
Headphones or external loudspeakers essential

The Canadian psychologist Albert Bregman’s theory of Auditory Scene Analysis describes how the human mind is able to identify, focus on, isolate and extract streams of actually or potentially meaningful sound information, which it recognises as emanating from discreet sources, using analysis of what amounts to the musical content of specific “melodic streams” within environmental noise. In terms of evolutionary biology, the theory suggests that our capacity for appreciating music may have evolved at least in part as a by-product of the mechanism that enables us to identify sound-streams that come from, say, a distant river, particular types of bird-song, or the call of a potentially hostile predator etc; and in human communications this faculty is most obviously in evidence as a contributory factor in enabling us to perceive individual speakers in crowded social environments (the Cocktail Party Effect). In terms of everyday experience, the isolation of such streams may seem deceptively simple, but in information theoretic and signal processing terms, the level of computational power required to extract such invariants* from the distorting influences of complex and rapidly-changing real-world sound environments still challenges engineers and computer scientists. Problems associated with extracting invariants from noisy environments are of particular relevance to air traffic control, military fighter and helicopter communications and battle management systems. Generalities aside, the soundtrack used in the Disinformation + Usurp “Sun Rays” film is a direct recording of the real sound-ambience of the film’s location, “composed” using sharp graphic-equalisation only, to reproduce the subjective experience of the melodic streams that were perceived in the extraordinarily atmospheric ambience of that underground space (and, totally coincidentally, the title of this film, which is taken from the footage itself, is also the name of the Indian Air Force military aerobatics demonstration team).

Filmed in New Delhi, Oct 2011. (J. Banks, IMCC Westminster, 1st Nov 2011).

*The term “invariant” was coined by the American psychologist JJ Gibson

Usurp + Disinformation – Neurogenesis + सूकिर+ Jean Genet

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SCREAM HOWL SPEAK!
Kusum Normoyle, Alan Tomlinson, Steve Beresford + Disinformation
Live at Usurp, Tues 8 Nov 2011, 7pm sharp
Usurp Gallery, 140 Vaughan Road, London HA1 4EB

What is the connection between the works of French burglar and prostitute Jean Genet and of the 19th century Swiss crystallographer Louis Albert Necker? As an articulation of Jean Paul Sartre’s discourse on Genet’s embodiment of “the negative”, Disinformation remixes audio samples from the final interview with one of modern France’s most notorious writers, exploring perceptual ambiguities which link experiences of auditory and visual illusions.

Alan Tomlinson is a trombonist “who manages to be simultaneously the best & the funniest you have ever seen”. Alan was a long time member of Barry Guy’s London Jazz Composers Orchestra, has his own trio with Dave Tucker and Phil Marks, a trio in Berlin, and a duo with Romanian poet Virgil Mihaiu. Recent solos have been with a glass trombone, accompanying a fish & chip van and in the River Seven.

Kusum Normoyle works with extended vocal technique and noise for both performance and installation. Central to her practice is the idea of public space, intervention, and the displacement of normal expectations of the female body and voice, performing brief high-intensity vocal incursions which are extremely physical, dragging the audience into a hard, fast displays of screaming, amplification and feedback.

Internationally known as a superb free improviser on piano and electronics, Steve Beresford also composes scores for feature films and numerous TV shows and commercials. Steve has worked with hundreds of musicians, including Christian Marclay, Derek Bailey, Han Bennink, Ivor Cutler, Ray Davies, Najma Akhtar, Evan Parker, Adrian Sherwood, Otomo Yoshihide and John Zorn.

Further info at: http://www.usurp.org.uk/events/scream_howl_speak/

See: http://instituteformodern.co.uk/2011/neurogenesis-by-disinformation-usurp-signature-version

Early warning: Joe Banks’ next Rorschach Audio lecture, Dec 7th

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Rorschach Audio: Mysterious-devil-tale, Devil-bewitched-by-Death’
Wednesday 7 December 2011, 1.15pm – 2.45pm
Room 359, University of Westminster, 309 Regent Street, London W1B

Following on from the “Rorschach Audio” lecture demonstration presented to the IMCC in March 2011, and, in particular, that lecture’s discussions of Jean Cocteau, Salvador Dali, EH Gombrich, Primo Levi and Leonardo da Vinci, visual and sound artist Joe Banks presents further explorations of the influence of “Rorschach Audio” phenomena on contemporary literature and creative art. This presentation directly extends the material discussed in the previous lecture, so any guests not familiar with the earlier talk are encouraged to read the “Rorschach Audio” research publications available here…

http://muse.jhu.edu/journals/lmj/summary/v011/11.1banks.html
http://www.slashseconds.org/issues/002/004/articles/jbanks/index.php

Disinformation on the radio

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A fine radio interview with our AHRC Fellow Joe Banks on ‘The Arts on Sunday’ in New Zealand.

Rorschach Audio On The Road

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Following the success of the ‘Rorschach Audio’ talk at The University of Westminster, and sound installation at Usurp Gallery, a quick notification of two more forthcoming events on Disinformation’s travels…

Wednesday 30th March 2011: Joe Banks is providing a ‘Rorschach Audio’ soundtrack for painter Makiko Nagaya’s drawing performance at the Superhybrid Dada event organised by curator Peter Lewis in Leeds.

Wednesday 13th April 2011: a ‘Rorschach Audio’ lecture features in the Living Room festival organised by University of Auckland, Gus Fisher Art Gallery curator Andrew Clifford in New Zealand, to accompany the National Grid sound installation that will be exhibited there.

Special Joe Banks Rorscach Audio Lecture

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Wednesday 9th March 2011, 1.15-2.45pm
Room 106, University of Westminster, 32-38 Wells Street, London W1T 3UW

Joe Banks (AHRC Research Fellow in the Creative and Performing Arts)
Rorschach Audio: Art and Illusion for Sound – Lecture & demonstration

Visual and sound and artist Joe Banks, based as an AHRC Research Fellow in the Institute, discusses the Spiritualistic phenomena explored by his “Rorschach Audio” research project, exploring Jean Cocteau’s Orphée and Art and Illusion by EH Gombrich in relation to Electronic Voice Phenomena (ghost voice) recording. The presentation focuses on perceptual psychology aspects of its subject matter – including live demonstrations of audio illusions and of related psychoacoustic phenomena – with a second presentation focusing on related literary themes to follow this Autumn.

“It is the story of the signaller who misheard the urgent message ‘Send reinforcements, am going to advance’ as ‘Send three and four pence, am going to a dance’.” E.H. Gombrich

“Sometimes we see a cloud that’s dragonish; A vapour sometime like a bear or lion, A tower’d citadel, a pendant rock, A forked mountain, or blue promontory With trees upon’t, that nod unto the world, And mock our eyes with air.” Shakespeare, Antony and Cleopatra

[Please note that this replaces the previously advertised Samuel Thomas paper on Pynchon, which has unfortunately had to be cancelled due to illness]

Joe Banks, the Institute’s new AHRC Fellow, gigs in October/November…

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Never one to rest of his laurels, soundscape-ist Joe Banks is out and about in the next six weeks. He’s underground in Hackney, improvising at The Chelsea Theatre on the Kings Road, and noise-making in Harrow. Catch him if you can!

‘When The Dust Settles’ – live electromagnetic sound installation, sculpture, performances and video by Melanie Clifford, Nicola Counsell, Disinformation, Esmeralda Munoz-Torrero + Zai Tang, Raagnagrok, Tai Shani, David J. Smith, The Stargazer’s Assistant, Neil Taylor, Sophie Tom and Amanda Whittle, in an extraordinary underground location…

http://www.youtube.com/watch?v=8ICHv7V5yIY
http://www.youtube.com/C4eye

The Bunker
18 Ashwin Street
London E8 3DL

Performances start 7.30pm
Thurs 7th Oct – 6.30 to 11.30pm
8th + 9th Oct – midday to 10pm
10th Oct – midday to 5pm
Admission Free

http://www.campbellworks.org/content/when-dust-settles-dalston-bunker

Bus – 30, 38, 67, 76, 149, 242, 243, 277, Train – Dalston Kingsland, Tube – Dalston Junction

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‘Film/ Music/ Other’ (Music Orbit Series 2) Disinformation and the Music Orbit Ensemble – Steve Beresford, Joel Bell, Francesca Thompson and Ben Crawley, improvising live scores to the films ‘Spellbound’, ‘Fire in the Eye’ and ‘Blackout’ by Disinformation. Programme includes “Electronic Labyrinth THX1138 4EB” – the first experimental short by director George Lucas and legendary sound-designer Walter Murch, the extraordinary ‘C’était un Rendezvous’ by the French Jewish-Algerian film-maker Claude Lelouch, ‘The Elephant and the Ship’ and ‘Monet’s Dream’ by artist and composer Ian Harris.

8pm Thurs 14th Oct 2010
The Chelsea Theatre
World’s End Place
Kings Road
London SW10 0DR
Admission £5

http://www.facebook.com/group.php?gid=240635372337
http://www.musicorbit.co.uk/node/473

Presented by Music Orbit in association with Brunel University and the PRS Foundation. Bus – 22 or 11 heading west from Sloane Square tube (get off when you see the ‘World’s End Distillery’ on your left).

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Usurp Arts Lab – performance, electronic music, documentary film, painting, sculpture and installations by Daniel Ackie, Blue Daisy, Sarah Cramer, Disinformation, Katy O’Donovan, Sarah Fowler, Reynir Hutber, Dilaksky Kandasamy, Natalie Leer, Isabel & Sophia Moseley, Aleesha Nandhra, Sheena Patel, Alice Turner, Aoife Twomey, Simon Underwood and Rich Watson.

http://www.youtube.com/watch?v=Cd61OQ6HIG4

Launch party + performances – 7pm Fri 12 Nov
Closing party – 7pm Sun 28 Nov

Usurp Art Gallery & Studios
140 Vaughan Road
London HA1 4EB
http://www.usurp.org.uk/

Usurp Gallery is 2 mins walk from West Harrow tube, 20 mins from Baker Street taking the Met Line towards Uxbridge. Gallery open Thursdays to Sundays 2pm to 8pm.

Joe Banks, AHRC Research Fellow in the Creative and Performing Arts, joins IMCC

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Disinformation "Fire in the Eye" copyright Joe Banks 2004

We are thrilled to welcome Joe Banks to the Institute for Modern and Contemporary Culture at University of Westminster, London. Joe is AHRC Research Fellow in the Creative and Performing Arts, and his current ongoing major project ‘Rorschach Audio’, studies ambiguities of acoustic perception, with particular emphasis on relationships between artistic and perceptual creativity and illusions of sound. Joe’s experimental music and installation art project Disinformation recorded 8 commercially published LPs and CDs (pioneering the use of electromagnetic noise from electric and magnetic storms, live mains electricity, industrial, domestic and IT hardware, transport infrastructure and from the sun etc., as the raw material of electronic music and sound art).