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31. Marec
Novi_sad (Gr)
10. Maj
Volkmar Klien (A)
15. Maj
L2Ork (US)
26. Maj
Ana Hoffner (A/Srb)
2. Junij
Francesca Bergamasco (I)
Asja Grauf (Slo)
Ivan Penov (Mk)
3. Junij
Johannes Kreidler (D)
13. Junij
Luka Zagoričnik (Slo)
23. Junij
Michael Rebhahn (D)
25. Junij
Marko Ciciliani (Cro/A)
10. Oktober–20. December
Tadej Droljc (Slo)
teorijeinprakse
sodobneglasbe
/theoryand
techniques of
contemporary
music / 2011
Vsa predavanja in performansi so brezplačni. Kotizacija za 36 urno delavnico Tadeja Droljca znaša 60 eur
za posameznike, 90 za predstavnike nevladnih organizacij. Prijave pošljite na: [email protected]
31. Marec
Novi_sad (Gr)
10. Maj
Volkmar Klien (A)
15. Maj
L2Ork (US)
26. Maj
Ana Hoffner (A/Srb)
2. Junij
Francesca Bergamasco (I)
Asja Grauf (Slo)
Ivan Penov (Mk)
3. Junij
Johannes Kreidler (D)
13. Junij
Luka Zagoričnik (Slo)
23. Junij
Michael Rebhahn (D)
25. Junij
Marko Ciciliani (Cro/A)
10. Oktober–20. December
Tadej Droljc (Slo)
Spremna beseda
Foreword
Kako danes misliti zvok v vsej njegovi heterogenosti, kako tej izmuzljivi, minljivi
a vseprisotni entiteti podeliti pomen izven ustaljenih okvirjev, ki jih ponuja pojem
glasba, izven estetskega motrenja, muzikoloških analiz in pronicanj v njegovo
zgradbo, organizacijo in sintakso? Kako na novo misliti kritično motrenje
različnih zvočnih praks, medijsko in tehnološko posredovanost zvoka, njegove
produkcijske načine in širše družbene implikacije, njegovo vlogo v potrošniški
kulturi in kako razpreti akt percepcije izven prevladujočih kulturnih vzorcev?
In nenazadnje kako ponovno v njem razbirati njegove utopične, profetske
dimenzije, jih preko misli, interpretacije in refleksije aktualizirati v razpršenih
ustvarjalnih praksah? Je za to morda potrebna artikulacija, ponoven premislek
šuma in tišine? Oba sta na svoj način razklenila zvočno krajino ki nas obdaja,
naš vsakdan v industrijski in postindustrijski dobi, oba zaznamujeta naš čas
in prostor, narekujeta ritem, postavljata premikajoče okvirje vsakdanjega
življenja in premeščata pomene v naši komunikaciji. Paradoks obeh je v tem,
da gre pravzaprav za eno samo entiteto, za 'ozadnji šum', zvočno motnjo, ki
vibrira, resonira v prostoru, se odbija, prebija in vtira v objekte in telesa, jih s tem
označuje, mapira, koordinira, disciplinira, ob tem pa nosi skrajno spremenljive,
razpršene pomene. Zvok nima okvirja, pa vendarle mu ga vseskozi skušamo
nadevati, ga zajeziti, pa najsi gre tu za tonaliteto, njegov zapis, glasbeni žanr,
vizualizacijo in njegovo redukcijo na objekt ali pa za ukrepe za zajezitev urbane
zvočne polucije. Je akt mišljenja zvoka podobna zajezitev? Mar ni v samem
mišljenju že utelešena paradoksna natura med tišino in šumom? Sam akt za
svojo konstituiranje idealizira prostor tišine a hkrati sam proizvaja šum. In ravno
v tem se odstira sodobno mišljenje zvoka, ki se danes odvija v polju glasbe in
How are we to think sound in all its heterogeneity? How to ascribe meaning to this
evading, transitory, yet omnipresent entity that would not fall within conventional
categories offered by music, or within aesthetic interpretations, musicological
analysis and breaking down of its structure, organization and syntax? How are
we to rethink the critical interpretation of various sound practices, the mediaand technology-mediated sound, its modes of production and the wider social
implications, the role of sound in the consumer culture, and how to extend the
act of perceiving outside the dominant cultural patterns? And last but not least,
how are we to reinterpret its utopian, prophetic dimensions, actualizing them in
the scattered creative practices through thoughts, interpretation and reflection?
In order to achieve this, it is perhaps necessary to articulate, rethink noise
and silence anew? They both have somehow opened out the soundscape
surrounding us, our everyday in the industrial and postindustrial era; they both
characterize our time and space, dictate the rhythm, set the moving frameworks
of everyday life and transpose meanings in our communication. However, the
paradox of both seems to be that what is involved in reality is one entity alone,
a 'background noise', a sound interference that vibrates, resonates in space,
rebounds, breaks through and penetrates objects and bodies, thus marking,
mapping, coordinating, disciplining them, and carrying at the same time extremely
variable, scattered meanings. Sound has no frame, yet we try again and again to
frame it, narrow it, either in terms of its tonality, its record, music genre, visualization
and its reduction to an object or in terms of taking appropriate measures to
limit the urban noise pollution. Is the act of thinking sound one such restriction?
Is thinking not the embodiment of the paradoxical nature between noise and
zvočne umetnosti, ki zvok ne misli zgolj skozi njegovo fizično prezenco, skozi
zven vibracije, temveč kot tekst, koncept, kontekst, kot mišljenje samo. Za ta
sodobna razbiranja je značilno, da zvok razbirajo v raznolikih kontekstih, tudi
v nemih umetnostih, skozi tekst, podobo, objekt, telo. Na drugi strani pa skozi
gesto in performans, telo in glas, skozi tehnologijo in medij, s tem pa neizogibno
vstopa v širši aktualno družbeni pomenski kontekst, ki je zvoku inherenten.
Zvok je vedno tu in zdaj, hkrati preteklost in sedanjost. Na tej ravni se ti razmisleki
vedno vračajo v preteklost, da bi bili tu in zdaj, pa najsi se vračajo v obdobje
moderne, k historičnim avantgardam ali se izvijajo primežu postmodernizma;
skozi literaturo, vizualno umetnost, gledališče, ples, film, performans, glasbo v
vsej svoji raznoterosti, zvočno umetnost, večumetniška zlitja, estetiko, filozofijo,
sociologijo, muzikologijo, sodobno znanost in tehnologijo, … Šum in tišina v
pomenu 'ozadnjega šuma' sta kritična točka tvorjenja pomena, realno, ki se s
svojo vseprisotnostjo in prežemanjem upirata pomenski zajezitvi, ji nenehno
uhajata v tvorjenju novih pomenov in pomenskih formacij, ki jih lahko in moramo
razbirati v njihovi večpomenskosti. Morda ne več kot rez, niti kot krparijo, temveč
kot premeščanje, zgoščevanje, razpuščanje in soočanje pomenskih silnic. Zvok
kot objekt, kot object sonore, ton, tekst, koncept, podoba, skulptura, informacija,
nosilec zvoka vedno presega ta objekt, je na nek način vedno odsoten objekt.
In ravno skozi to paradoksno prisotno odsotnost je v zadnjih letih postal objekt
misli par excellence številnih teoretskih in ustvarjalnih paradigem v umetnosti in
glasbi, ki jih v naš prostor prinaša pričujoča serija predavanj, delavnic in zvočnih
dogodkov. Ob tem, ko zvok skozi raznotere kontekste in diskurze postaja
objekt naših misli, pa hkrati razpira številna vprašanja kot izziv za nova motrenja
in snov za ustvarjanje…
Luka Zagoričnik
www.irzu.org
silence? In order for the act of thinking to constitute itself, it idealizes the space
of silence, being at the same time the source of noise. And it is exactly in this
point that resides contemporary understanding of sound in the field of music and
sound art where sound is seen not only through its physical presence, through
vibrations, but also as a text, a concept, a context, and thinking as such. However,
typical of such contemporary understanding is that it interprets sound in its
various contexts – in in-audible arts as well – through text, image, object, body,
on the one hand, and through the gesture and performances, body and voice,
technology and the medium on the other, thus inevitably entering the wider
current social context of meaning. This last is inherent to sound: the sound is
always here and now, it is the past and the present at one and the same time. At
this level, such reflections are always recurring to the past in order to be here and
now, be it that they are recurring to modernism, to the historical avant-gardes or
escaping the vice of postmodernism; through literature, visual art, theatre, dance,
film, performance, music in all its variety, sound art, multy-art fusions, aesthetics,
philosophy, sociology, musicology, contemporary science and technology,...
Noise and silence understood as 'background noise' represent a real deadlock
in the constitution of meaning, resisting with their omnipresence and pervasion
the narrowing of their scope of meaning, evading it all along by creating new
meanings and semantic formations that we can and must grasp in their multiple
meanings. Perhaps not as a cut anymore, and not even as a patching, but rather
as dislocation, condensation, dissolving and confrontation of the lines of meaning.
Sound as an object, an object sonore, a tone, a text, a concept, an image, a
sculpture, information – the carrier of sound always surpasses this object,
being somehow always an absent object. It is through this paradoxical present
absence that over the last years sound has become the object of thought par
excellence of the various theoretical and creative paradigms in art and music that
will be introduced in the Slovenian space within the framework of the present
series of lectures, workshops and sound events. With sound becoming – through
the various contexts and discourses – the object of our thoughts, it raises at the
same time numerous questions that can be seen both as a challenge for new
interpretations and as a subject matter for creation.
Več o Zagoričnikovem predavanju 13. Junija 2011. / More on Zagoričnik’s lecture on 13. June 2011.
31. Marec
Novi_sad
(Gr)
Predavanje / Lecture
Galerija ŠKUC – 21.00
Thanasis Kaproulias (1980) alias Novi_sad je študiral na Economic
University of Piraues, med tem pa se pod vplivom pionirjev založbe
Audio assault sam priučil tehnik elektronskega komponiranja. Kot izrazna
sredstva uporablja ojačane terenske posnetke, manipulacije hrupa,
strukturirane zvočne ambiente, mikrotonalnost in višje-harmonske
manipulacije, katere združuje hiper-strukture in ikonoklastične oblike.
Njegov pristop je podoben konceptu „kina za uho” oz. v obratnem
smislu, bi naj njegovo delo naj omogočalo pogled skozi zvok. Nekateri
izmed njegovih projektov so usmerjeni v področje arhitekturne akustike,
medtem ko drugi temeljijo na raznovrstnih metodah analize avdia iz
izredno unikatnih zvočnih posnetkov kot tudi uporabi kvantitativnih in
numeričnih podatkov pridobljenih iz različnih virov. Njegova dela so izšla
pri založbah kot so: Sedimental (US), Touch (UK), Staalplaat (NL) and Sub
Rosa (BE). Sodeloval je na festivalih kot so: Mutek (Montreal, Canada),
Ultrahung (Budapest, Hungary), Observatori (Valencia, Spain), Full-Pull
(Malmö, Sweden), Med drugim pa so njegova dela bila predvajana na:
VPRO National Radio (Amsterdam, The Netherlands), Diapason Gallery
(New York, US), The Lab (San Francisco, US), Royal Danish Academy of
Fine Arts (Copenhagen, Denmark), Fylkingen (Stockholm, Sweden). Novi_
sad je sodeloval z umetniki kot so: Helge Sten (Deathprod, Supersilent),
Francisco López, Mika Vainio (Pan Sonic), BJ Nilsen, Daniel Menche,
Richard Chartier, CM von Hausswolff, Jacob Kirkegaard, Beckie Foon (A
Silver Mt. Zion, Set fire to flames), Scott Konzelmann. Thanasis Thanasis
Kaproulias je dela objavljal tudi pri Touch Music (UK) ter je umetniški in
programski vodja festivala. Hertz.
Novi_sad is the guise for Thanasis Kaproulias (b. 1980) who holds a degree
from the Economic University of Piraues. He lives and works in Athens,
Greece. Influenced by the pioneers of audio assault, he began generating
sounds in 2005. Amplified environmental recordings, drone manipulations,
structured ambient soundscapes, microtones vs overtones, all come
together in a hyper structure of iconoclastic form. His approach is similar
to the ‘cinema pour l’oreille’ (cinema for the ear) and in turn would like to
‘donner à voir’ (lead to seeing) by means of sound. Some of his projects are
primarily focused in architectural acoustics, when other projects are based
on various methods of audio analysis in extremely unique recordings and
the use of quantitative and numerical data from different sources. His audio
works are available from Sedimental (US), Touch (UK), Staalplaat (NL)
and Sub Rosa (BE). He has performed in festivals like Mutek (Montreal,
Canada], Ultrahung [Budapest, Hungary), Observatori (Valencia, Spain),
Full-Pull (Malmö, Sweden), and in such spaces as VPRO National Radio
(Amsterdam, The Netherlands), Diapason Gallery (New York, US), The Lab
(San Francisco, US), Royal Danish Academy of Fine Arts (Copenhagen,
Denmark), Fylkingen (Stockholm, Sweden) a.o. Novi_sad has worked and
collaborated with: Helge Sten (Deathprod, Supersilent), Francisco López,
Mika Vainio (Pan Sonic), BJ Nilsen, Daniel Menche, Richard Chartier, CM von
Hausswolff, Jacob Kirkegaard, Beckie Foon (A Silver Mt. Zion, Set fire to
flames), Scott Konzelmann a.o. Thanasis Kaproulias is published by Touch
Music (UK) and he is the General and Artistic director of Hertz Festival..
www.novi-sad.net
10. Maj
Volkmar Klien
(A)
Predavanje / Lecture
Galerija ŠKUC – 21.00
Zvočna umetnost in nova glasba; osebni vidik
Nova glasba – v kontekstu tradicije evropskega avantgardizma 20. stoletja –
se je danes znašla v precej nenavadnem položaju. Nekdanja gonilna sila, ki
si je na začetku prizadevala za razširitev tradicionalne vloge glasbe, se še
danes deklarira kot ena in edina resnična “nova” glasba, ki svojo pozicijo brani
ob podpori dominantnih institucij kot so konservatoriji in klasične koncertne
dvorane. Volkmar Klien bo obravnaval probleme v zvezi s to situacijo in se pri
tem skliceval na svoje umetniško delo ter izpostavljal delovne smernice na
razširjenem področju zvočnih umetnosti.
Volkmar Klien deluje na različnih področjih zvočne in občasno tudi „nezvočne“
umetnosti, ki segajo od inštalacij in umetniške intervencije do elektronskih
zvokov in inštrumentalne kompozicije. Njegova dela so bila predstavljena na
festivalih in institucijah kot so EMPAC, Ballett Frankfurt, Wien Modern, Inštitut za
sodobno umetnost v Londonu, ZKM Karlsruhe, Volksoper Wien in Huddersfield
festival sodobne glasbe. Volkmar Klien je bil rojen 1971 v bližini Dunaja, kjer je
študiral glasbeno kompozicijo, eksperimentalne medije in filozofijo. Od 1997 do
2002 je preživel v Londonu, kjer je delal kot samozaposleni na področju kulture,
raziskovalec na Royal College of Arts in kot izredni profesor na London Institute.
Doktoriral je iz elektro-akustične kompozicije na City University v Londonu
in nato deloval kot znanstveni sodelavec na avstrijskem Raziskovalnem
inštitutu za umetno inteligenco. Trenutno je predavatelj na Univerzi za glasbo in
upodabljajoče umetnosti na Dunaju.
The Audible Arts and New Music, a Personal Perspective
New music in the traditions of the European Avantgardes of the 20th century
today finds itself in a rather peculiar position. What started as a driving force
aspiring to extend the traditional role of music, these days presents itself, while
still declaring to be the one and only really ‘new’ music as a set of defensive
structures tied to conservatories and concert halls. Volkmar Klien will discuss
problems with regard to this situation and, referring to his own artistic work, he
will point out paths towards working in an extended field of the audible arts.
Volkmar Klien works in various areas of the audible and occasionally inaudible
arts spanning from installation and artistic intervention to electronic sound
and instrumental composition. His work has been presented at festivals
and institutions such as EMPAC, Ballett Frankfurt, Wien Modern, the Institute
for Contemporary Art London, ZKM Karlsruhe, Volksoper Wien and the
Huddersfield Festival of Contemporary Music. Volkmar Klien was born 1971
near Vienna where he later studied musical composition, experimental media
and philosophy. 1997 - 2002 he spent in London working as a freelance artist,
a researcher at the Royal College of Arts and external lecturer at the London
Institute. He gained a PhD in electroacoustic composition from City University
London and after spending some time as a research fellow at the Austrian
Research Institute for Artificial Intelligence he currently holds the position of
a Senior Lecturer at the University for Music and Performing Arts in Vienna.
www.volkmarklien.com
26. Maj
Ana Hoffner
(A/Srb)
Predavanje-performans / Lecture-performans
ALUO, Predavalnica 7 – 14.30
Moderna Galerija – 20.00
Was ist Kunst / What is Art– a Product of Circumstances?
(„Kaj je Umetnost- Produkt okoliščin?”) kontekstualizira dve umetniški deli,
“Product of Circumstances”, delo Xavierja LeRoya in „Was ist Kunst?” delo
Raše Todosijevića, prek katerih nadalje razišče biografske opise življenja
med biologijo in plesom Xavierja Lroyija. Hoffnerjeva se sprašuje iz katere
pozicije je moč obravnavati fragmentacije in reze v biografijah ter s kakšno
družbeno vrednostjo ali diskreditacijo so slednje povezane. Performans
posega v delo Xavierja LeRoya iz queer migrantske perspektive in
ponovno poziva k vprašanju Raše Todosijevića o načinih reprezentacije:
Kaj je umetnost?
Ana Hoffner se ukvarja s teorijo in performansom v okviru queer,
migracijskih in (post)kolonialnih vprašanj. Trenutno opravlja doktorski študij
na Akademiji za likovno umetnost na Dunaju. Njen najnovejši projekt „Queer
perspectives in and on Europe” tematizira vprašanje homo-normativnosti in
queera kot spolnih politik evropske skupnosti. Prek ponovnega uprizarjanja
(reenactmenta) in umetniške intervencije Ana Hoffner vzpostavi lastno
performativno prakso, da bi prevprašala subjektivacijske procese
sodobne Evrope.
Movement, privatized, Open Space, Vienna, April 2009
Fotografija / Photo: Brigitte Stocker
Was ist Kunst / What is Art – a Product of Circumstances?
The lectureperformance “Was ist Kunst – a Product of Circumstances?”
contextualizes two art works: Xavier LeRoy’s “Product of Circumstances”
and Rasa Todosijevic’s “Was ist Kunst?” Xavier Leroy’s biographic
descriptions about a life between biology and dance are explored further.
From which position fragmentations and ruptures of biographies are dealt
with? What sort of social value or discredit is connected to those stories?
The performance makes an intervention into Xavier LeRoy’s work from
a queer migrant perspective and asks again Rasa Todosijevic’s question
about forms of representations – what is art?
Ana Hoffner is a writer and performer working in the fields of queer and
migratory / (post)colonial politics. Currently she is a PhD in Practice student
at the Academy of Fine Arts in Vienna. In her last research project “Queer
perspectives in and on Europe” she was working on homonormativity and
queerness as sexual politics of european unity. Through reenactment
and intervention Ana Hoffner creates a performative practice in order to
challenge subjectification processes in contemporary Europe.
15. Maj
L2Ork
(US)
Performans in predavanje / Performance and lecture
Kino Šiška, Komuna – 21.00
Interaktivnost je pojem, ki je vseprisoten v umetnosti skladatelja in večmedijskega oblikovalca Ivice Ico Bukvič (r. 1976). Bukvičeva strast za
računalniško glasbo, več-medijske umetnosti in tehnologijo v povezavi s
tradicionalno glasbeno podlago se odraža v večjem delu njegovega opusa;
v zvočnih, vizualnih, elektronskih performansih, instalacijah, tehnologijah,
raziskovalnih publikacijah, predstavitvah in nagradah. Dr. Bukvić trenutno
dela na Univerzi Virginia Tech kot profesor glasbene kompozicije in
tehnologije, je ustanovitelj in direktor Digital Interactive Sound in Intermedia
Studio ter Linux Laptop Orchestra, je eden izmed direktorjev CCTAD in član
Center for Human - Computer Interaction.
The art of composer and multisensory sculptor Ivica Ico Bukvic (b. 1976)
is driven by the notion of ubiquitous interactivity. Bukvic’s passion for
computer music, multimedia art, and technology together with his traditional
music background has resulted in a growing portfolio of aural, visual,
acoustic, electronic, performances, installations, technologies, research
publications, presentations, grants, and awards. Dr. Bukvic is currently
working at Virginia Tech as an assistant professor in music composition
& technology, the founder and director of the Digital Interactive Sound and
Intermedia Studio and the Linux Laptop Orchestra, CCTAD co-director, a
member of the Center for Human - Computer Interaction.
ico.bukvic.net
Člani skupine / L2Orkists: Christopher Cummins, John Elder, Hillary Guilliams, Bennett Layman, David
Mudre, Steven Querry, Philip Seward, Andrew Street, Elizabeth Ullrich, Adam Wirdzek
Director / Direktor: Dr. Ivica Ico Bukvić
Solisti / Soloists : Ron Coulter, percussion / tolkala, Aurora Martin, soprano / sopran
Skupino L2Ork je ustanovil Dr. Ivica Ico Bukvić leta 2009 in je del najnovejše
interdisciplinarne pobude glasbenega oddelka Univerze Virginia Tech. oz.
Digital Interactive Sound & Intermedia Studio (DISIS). Skupino sestavlja
petnajst glasbenikov / izvajalcev, ki so s prenosnimi računalniki povezani v
omrežje, znotraj katerega – preko odprto-kodne programske opreme (Linux in
PD-Pure Data) – neodvisno delujejo. Namesto oblikovanja novih instrumentov
se L2Ork osredotoča na izpopolnjeno uporabo obstoječih tehnologij v okviru
standardiziranega ansambla. Kar nedvomno ločuje skupino L2Ork od ostalih
hitro rastočih številnih laptop orkestrov, je njihovo osredotočanje na fizično
prisotnost in izvajalsko prakso. Raziskujejo spoj tradicionalnih inštrumentov
s sodobno tehnologijo, s pomočjo integracije omrežnih podatkovnih tokov pa
bistveno spreminjajo lastnosti orkestra in posledično zvoka. Vsak prenosni
računalnik uporablja po meri izdelane pol-oblaste zvočnike, s čimer se ustvarja
zavedanje prisotnosti zvoka v prostoru pri vsakem izvajalcu. Nekatere
kompozicije edinstvenega repertoarja orkestra spajajo solistične akustične
instrumente kot so tolkala, Shona Mbira in glas (tako petje kot govor), itd. Z
mešanjem izvirnih izvedbenih tehnik, posnetega avdio materiala in obdelave
zvoka v realnem času, orkester povezuje najstarejše medije glasbene
produkcije (tolkala in glas) z eno od najnovejših (prenosni računalniki). Z
uporabo Wiimote kontrolerjev in dodatnimi Wiimote senzorji, skupina uteleša
glasbo in vzpostavlja vizualno referenco zvokov vsakega laptop izvajalca.
Telesne geste, katerih se izvajalci poslužujejo za izvajanje glasbe, temeljijo
na načinih igranja tradicionalnih inštrumentov. Telesne kretnje se tako
pretvorijo v parametre, ki upravljajo sintezo in obdelavo zvoka. S pomočjo
tehnologije omogočijo interaktivno skupno proizvajanje glasbe v realnem
času ter usklajeno izmenjavo idej in čustev med mrežo posameznikov različnih
glasbenih sposobnosti in izkušenj.
L2Ork, founded by Dr. Ivica Ico Bukvic in May 2009, is part of the latest
interdisciplinary initiative by the Virginia Tech Music Department’s Digital
Interactive Sound & Intermedia Studio (DISIS). L2Ork consists of up to fifteen
tightly networked, yet independently operated laptop computers running
open source software (Linux, PD). Instead of designing new instruments,
L2Ork’s focus is on perfecting the use of existing technologies within a context
of a standardized ensemble. Consequently, what arguably sets L2Ork
apart from a growing number of laptop orchestras is its focus on physical
presence and performance practice, consistent exploration of coupling
traditional instruments with contemporary technology, and tight integration of
networked data streams that fundamentally alter the orchestra’s properties
and consequently sound. Each laptop computer utilizes a custom, handbuilt hemispherical speaker to create a location-aware presence of sound
for each performer. Some of the compositions in the Laptop Orchestra’s
unique repertoire seamlessly integrate solo acoustic instruments such as
percussion, Shona Mbira, voice (both singing and spoken word), etc. The
standardized use of Wiimote controllers and their extensions establishes
an embodied performance and visual indexing of each laptop performer’s
sound influenced by traditional instrumental performance gestures to control
synthesized digital sound as well as captured acoustic audio samples in
composed and improvised contexts. The use of improvisational elements
along with shared gestures and audio content allow the real-time interactive
group production of a music that transcends the technologies involved,
allowing a coherent exchange of ideas and emotions between networked
individuals of different abilities and experiences.
l2ork.music.vt.edu
2. Junij
Francesca
Bergamasco
Asja Grauf
Ivan Penov
(I)
(Slo)
(Mk)
Performans / Performance
Galerija ŠKUC – 20.00
Francesca Bergamasco, rojena leta 1974 v Trstu, Italiji. Bogate pevske
izkušnje je pridobivala preko raznovrstnega udejstvovanja v jazzu, improvizirani
in elektronski glasbi, tangu, kabaretu in gledališču. Vokalne tehnike se je učila v
Trstu, poleg tega pa se je udeležila mnogih mednarodnih vokalnih, jazzovskih
mojstrskih tečajev pod mentorstvom različnih profesionalnih pevcev.
Zanimajo jo različne oblike umetniškega izražanja, trenutno se posveča multimediji in razvoju povezav med glasom, zvokom in vizualnostjo.
Asja Grauf, rojena leta 1980 v Mariboru. Flavto je začela igrati pri desetih
letih. Po končani Srednji šoli za glasbo v Mariboru je opravila sprejemni izpit
na Univerzi klasične glasbe v Gradcu. V okviru izmenjave študentov je leta
2004 študirala na Conservatorio statale di Musica Giuseppe Tartini v Trstu.
Leta 2005 je končala magisterij. Sodelovala je z mnogimi skupinami elektroakustičnih in improviziranih glasbenih žanrov ter nastopala v okviru gledaliških
in plesnih predstav. Sodeluje tudi s Simfoničnim orkestrom SNG Maribor in
orkestrom Slovenske vojske.
Ivan Penov, skladatelj, rojen v Makedoniji leta 1985, trenutno živi v Trstu. Študiral
je klavir in violončelo v Skopju, svoje glasbeno izobraževanje pa je nadaljeval
na Konservatoriju v Trstu, na oddelku za glasbo in nove tehnologije pri Robertu
Doatiju, Paolu Pachiniju, Pietru Polottiju in Nicoli Buso. Njegove elektro-akustične
in avdiovizualne kompozicije so bile predstavljene na številnih mednarodnih
festivalih in tekmovanjih, vključno z Concours de Musique Electroacoustique
- Bourges (Francija), Festival Synthése, Concurso Internacional de Miniaturas
Electroacústicas - Andaluzija (Španija), EMUFest - Rim (Italija) in drugi.
Francesca Bergamasco was born in Trieste, Italy, in 1974. She is primarily
a singer performer with a wide and diversified experience, from jazz,
improvised and electronic music to tango, cabaret and theatre. She studied
vocal technique in Trieste and took several vocal jazz masterclasses with
different professional singers abroad. Interested in various artistic forms of
expression, she is currently focusing on multimedia, developing connections
among voice, sound and visuals, also at an interactive level.
Asja Grauf was born in 1980 in Maribor. She began playing flute at the age of 10.
After she finished the high school of music in Maribor, she passed the entrance
examinations at the University of classical music in Graz, Austria. In 2004 she
attended the Conservatorio Statale di Musica Guiseppe Tartini in Trieste (Italy) as
an exchange student. In 2005 she finished the master degree. She collaborated
with several musical groups, theatre and dance performances, electroacustic
and improvised music. She also colaborated working with the Symphonic
Orchestra of Maribor and the National Orchestra of Slovenian Army.
IIvan Penov, composer, was born in Macedonia in 1985 and is currently
living in Trieste (IT). He studied piano and cello in Skopje and continued his
musical education at the Conservatory of Trieste, in the School of Music and
New Technologies with Roberto Doati, Paolo Pachini, Pietro Polotti and Nicola
Buso. His electroacoustic and audiovisual compositions were presented
at many international festivals and competitions including Concours de
Musique Electroacoustique – Bourges (France), Festival Synthése, Concurso
Internacional de Miniaturas Electroacústicas – Andalucia (Spain), EMUFest –
Rome (Italy) and others.
Koncept / Concept: Francesca Bergamasco, Asja Grauf
Fotografija / Photo: Petra Strban
Video, Voice / Glas: Francesca Bergamasco
Zvok / Sound: Živa elektronika / Live electronics: Ivan Penov
Flavta / Flute : Asja Grauf
Zvočno – vizualni projekt je nastal kot rezultat bivanja Francesce
Bergamasco v Ljubljani Maj – Oktober 2010), v okviru umetniške rezidence
na IRZU, ki se je odvijala v sodelovanju s tržaškim Konsevatorijem
Giuseppe Tartini (oddelek za elektro-akustiko). Skupino sestavljajo trije
glasbeniki iz različnih glasbenih okolij, vse pa povezuje zanimanje za
raziskovanje zvoka. V tem projektu se ukvarjajo z vprašanjem tišine /
statike, hrupom / gibanjem ter vprašanjem glasbenikove / človekove
fizične prisotnosti na odru / v življenju, v odnosu z vedno bolj virtualnim
svetom. To so poskusili izraziti z združitvijo treh izraznih komponent –
zvoka / glasbe, videa in fotografije. Performans sestavljajo trije sklopi. Pri
tem se posamezne komponente kdaj spremenijo ali dobijo novo funkcijo:
glasbo izvaja gledalec, tradicionalni inštrumenti in vokal zaradi uporabe
žive elektronike dobijo novo zvočno dimenzijo, video deluje kot fotografija,
niz fotografij deluje kot video.
The audio-visual performance is the result of Francesca Bergamasco
artistic residence at IRZU in Ljubljana (May- October 2010) which was held in
cooperation with the Trieste Conservatoire Giuseppe Tartini – department for
electro-acoustic music. The group consists of three musicians from different
musical backgrounds, sharing a common interest in exploring sound. The
project addresses the issues of silence / statics, noise / movement and the
issue of the musicians / human physical presence on stage / in life, in relation
to an increasingly virtual world. These relations are being displayed through a
mix of three expressive components - sound / music, video and photography.
The performance consists of three sets in which the individual components
are gradually transformed in order to serve different purposes: the spectator
performs the music; through use of live electronics the traditional instruments
and vocals are extended into a new acoustic dimension; video is displayed as
photography; a series of photographs are perceived again as a video.
13. Junij
3. Junij
Johannes Kreidler
Luka Zagoričnik
(D)
Galerija ŠKUC – 21.00
Zvok kot datoteka – Digitalni glasbeni predmeti
Digitalna tehnologija spreminja pogoje in načine dostopanja do glasbe. Namesto
obračanja gramofonskih plošč danes klikamo in predvajamo glasbo po izbranem
glasbenem seznamu; skladatelja iz Čila je mogoče najti preko iskalnika Google;
namesto pisanja not urejamo zvočne datoteke (sample). Vse je virtualizirano in
atomizirano, po drugi strani pa se vse to kopiči v novih strukturah in kontekstih.
Kako skladati v takšni situaciji, kako poslušati, kako igrati glasbo? In: ali naj se pri
tem še naprej oklepamo starih glasbenih oblik ali naj le-te zgolj so-bivajo z novimi?
Johannes Kreidler se je rodil leta 1980 v Esslingenu v Nemčiji. Leta 1989 je začel
z skladanjem in naslednje leto s študijem kompozicije in glasbene teorije na
Visoki šoli za glasbo v Stuttgartu. Od leta 2000 do 2006 je študiral kompozicijo
in glasbeno teorijo na Visoki šoli za glasbo v Freiburgu, kompozicijo pri
Mathiasu Spahlingerju in elektronsko glasbo pri Mesiasu Maiguashca in Ormu
Finnendahlu. Med tem je študiral filozofijo na Universität Freiburg. Nadaljeval
je s študijem elektronske glasbe na Inštitutu za sonologijo na Kraljevem
konservatoriju v Haagu od leta 2004 do 2005. Obiskoval je različne seminarje
pri Helmutu Lachenmannu, Brianu Ferneyhoughu, Richardu Barrettu in na inštituti
IRCAM v Parizu. Od leta 2006 poučuje glasbeno teorijo in elektronsko glasbo na
Univerzi za glasbo in gledališče Rostock in na Univerzi za glasbo Detmold, od leta
2009 tudi na Univerzi za glasbo in gledališče Hannover. Leta 2008 je bil izbran
skladatelj za Ensemble Modern Akademy, leta 2009 zmagovalec in dobitnik
nagrade glasbenega gledališča „Fonds experimentelles Musiktheater NRW”,
leta 2010 dobitnik nagrade German Author’s Award v kategoriji „Young Talent
Prize”. Njegovi eseji in intervjuji so bili natisnjeni v KunstMusik, Musik & Ästhetik,
Positionen, Neue Musikzeitung in v Search Journal. Njegova knjiga „Programming
Electronic Music in Pure Data” je bila objavljena leta 2009 pri založbi Wolke.
(Slo)
Predavanje / Lecture
Predavanje / Lecture
Sound as a file – Digital musical objects
The digital technology is changing the access to music. Instead of Turning
Tables, you can click through the Playlists; a composer from Chile can be
found through Google search, instead of writing notes are arranged sample
files. Everything is virtual and atomized, on the other hand all that build up in the
new structures and contexts. How to compose inside those situations, how
to listen, how to play music? And: should all be replaced with the old forms, or
simply exist more at once?
Johannes Kreidler was born in 1980 in Esslingen / Germany. In 1989 he began
composing, since 1990 he got lessons in composition and music theory at
the Musikhochschule Stuttgart. From 2000 to 2006 he had been studying
composition and music theory at the Musikhochschule Freiburg, composition
with Mathias Spahlinger and electronic music with Mesias Maiguashca
and Orm Finnendahl. Additionally, he was doing philosophical studies at the
Universität Freiburg. From 2004 to 2005, he had been studying electronic music
at the institut for sonology of the Royal Conservatory The Hague. He visited
courses with Helmut Lachenmann, Brian Ferneyhough, Richard Barrett and at
IRCAM Paris. Since 2006 he teaches music theory and electronic music at the
University of Music and Theater Rostock and the University of Music Detmold,
since 2009 at the University of Music and Theater Hannover. In 2008, he was
selected composer of the Ensemble Modern Akademy, in 2009 the winner of
the music theatre prize “Fonds experimentelles Musiktheater NRW”, in 2010 the
winner of the German Author’s Award, Category “Young Talent Prize”. Essays
and Interviews have been printed in KunstMusik, Musik & Ästhetik, Positionen,
Neue Musikzeitung and the Search Journal. His book “Programming Electronic
Music in Pure Data” has been published in 2009 on Wolke Verlag.
www.kreidler-net.de
Moderna Galerija – 20.00
Luka Zagoričnik, je bil rojen 12. maja 1975 Kranju, Slovenija. Več kot 10 let
piše o glasbi, organizira koncerte, zvočne dogodke, predava in organizira
predavanja, pripravlja radijske in TV oddaje, deluje kot novinar, piše kritike,
članke in eseje za različne slovenske revije in publikacije. Že več kot
10 let dela za eno od najstarejših neodvisnih radijskih postaj v Evropi,
Radio Študent; v zadnjih treh letih kot glasbeni urednik. Piše za mesečno
glasbeno revijo Muska, za največji slovenski časopis Delo in tednik Mladina
ter druge. Pet let je zaposlen kot moderator, novinar in glasbeni kritik na
slovenski nacionalni televiziji RTV Slovenija. V zadnjih treh letih prireja serijo
predavanj in zvočnih dogodkov sodobne eksperimentalne glasbe Bitshift
v Galeriji Kapelica, v Ljubljani. Od leta 2005 je vodja manjše neodvisne
založbe za eksperimentalno glasbo L’Innomable. Organizira koncerte v
Ljubljani, kjer tudi živi in dela.
Born on 12th of May 1975, Kranj, Slovenia. For more than 10 years Luka
Zagoričnik has been writnig about music, organizing concerts, sound
events, giving and organizing lectures, preparing radio shows, moderating
TV shows, working as a journalist, writing reviews, articles and essays
for various slovene magazines and publications. For more than 10 years
he has been working for one of teh oldest independent radio stations in
Europe, Radio Študent, for the last three years as musical editor. He has
been writing for musical monthly magazine Muska, for biggest slovene
newspaper Delo and weekly magazine Mladina among others. For five
years he has been working as a moderator, journalist and music critic for
national slovene television RTV Slovenija and for the last three years he
organizes lectures and sound events of contemporary experimental music
in a sound series Bitshift in Galerija Kapelica in Ljubljana. He has been
running small independent label for experimental music L’Innomable since
2005 and organizing concerts in Ljubljana. He lives and works in Ljubljana.
23. Junij
Michael Rebhahn
25. Junij
Marko Ciciliani
(D)
(Cro/A)
Performans in predavanje / Performance and lecture
Predavanje / Lecture
Galerija ŠKUC – 20.00
Galerija ŠKUC – 20.00
Obsojeno na status pridevnika?
Vzpostavitev povednosti pri (pisanju o) glasbi
„Kako lahko z besedami interpretiramo glasbo?” vpraša Roland Barthes v eseju
Le Grain de la Voix. Njegov kratek odgovor se glasi: „Žal se zdi, da zelo slabo.”
Kriva je tendenca k opisovanju glasbe s pomočjo pridevnikov, ki so – kot navaja
Barthes – „najrevnejša lingvistična kategorija.” Uporaba pridevnikov se zdi v
vsakem poskusu opisovanja glasbe skoraj neizogibna, kar pogosto pripelje
do jezika onesnaženega z nedefiniranimi poetizacijami. Antiteza te „uporabne
poetike” bi bilo pisanje o glasbi, ki bi izrecno preiskovalo estetske pojme in motive.
S tem bi soočili senzorično in konceptualno raven, oz. ne bi zgolj z besedami
podvajali ter reproducirali zvočnih podob. Vizija „ne-pridevniške” sodobne glasbe,
katere inovacijski potencial ne bi več temeljil na ponavljanju ideje domnevnega
napredka skozi razvoj glasbenega materiala, tako zasenči vrednost opisnega
pristopa, utemeljenega s sredstvi ilustrativne proze: inovativna umetniška dela
so torej tista, ki omogočajo razvoj diskurza oz. tista, ki prenesejo kritično analizo,
katera preseže nivo jezika koloraturnega okraševanja.
Condemned to Adjectival Status?
The constitution of significance in (writing about) music
“How does language manage when it has to interpret music?” asks Roland
Barthes in his essay Le Grain de la Voix. His succinct answer: “Alas, it seems,
very badly.” What’s at fault is the tendency to employ adjectives, the “poorest
of linguistic categories” (Barthes), which seem to be an obligatory part of
each attempt to grasp musical matters in words, and not seldom leads to a
language plagued by poeticizing indifference. The antithesis of such an “applied
poetics” would be a writing about music which expressly investigates aesthetic
concepts and motivations, and encounters the sen-sory with the conceptual,
instead of simply recounting an acoustic surface. Challenged by a “nonadjectival” contemporary music whose innovative potential no longer consists
of the perpetuation of an alleged material progress, there is no value in a
descriptive approach that exhausts itself in mere illustrative prose: Innovative art
works are those from which a further discourse could be extrapolated, those
which withstand critical scrutiny beyond the language of colorful attributes.
Michael Rebhahn (r. 1972) je študiral muzikologijo, umetnostno zgodovino in
filozofijo (doktorska disertacija na temo glasbene estetike Johna Cagea).
Delal je kot pomočnik urednika za Neue Zeitschrift für Musik, kot avtor TV
programa 3sat Kulturzeit in kot predavatelj muzikologije. Leta 2007 je bil glavni
urednik za novo glasbo na Hessischer Rundfunk. Trenutno dela kot svobodni
muzikolog, glasbeni novinar in kustos v Frankfurtu.
Michael Rebhahn (b. 1972) studied musicology, art history, and philosophy (PhD
dissertation on the musical aesthetics of John Cage). He worked as assistant
editor for the Neue Zeitschrift für Musik, as an author for the TV program 3satKulturzeit and as a lecturer in musicology. In 2007 he was editor-in-chief for new
music at the Hessischer Rundfunk. Currently he is a freelance musicologist,
music journalist and curator in Frankfurt.
Dirty Light
V predavanju “Dirty Light” bo Marko Ciciliani predstavil več del zadnjih let,
kjer je skladal za zvok in svetlobo. Odnos, ki ga je vzpostavil med medijem
svetlobe in zvoka, temelji na predpostavki, da oba sprejema kot enoti, ki nosita
semiotični naboj. V predavanju bo predstavil podrobnosti tega koncepta in ga
ponazoril z nekaterimi primeri njegovih del. Prav tako bo govoril o trenutnem
projektu, kjer akumulira več plasti glasbe različnih žanrov. Tako bo prikazal še
en primer, kjer hrup pojmuje kot “simbolično obliko” in ne kot prvobitno zvočno
doživetje, kot je to po navadi pogosto razumljeno.
Marko Ciciliani (r. 1970, Zagreb) je skladatelj in izvajalec elektronske glasbe,
živi na Dunaju in v Amsterdamu. Na glasbeni univerzi na Dunaju in v Gradcu
poučuje elektroakustične kompozicije. Za njegova dela je značilno, da
združuje na videz nasprotujoče materiale, kar daje kompoziciji poseben
občutek eksperimentalnosti in igrivosti, s presenetljivimi obrati in mnogoterimi
barvami. V njegovem novejšem delu posveča posebno pozornost kombinaciji
svetlobe in zvoka, kar je bila tudi tema njegove doktorske disertacije, ki jo
je končal leta 2010 na Brunel University v Londonu. Cicilianijev pristop do
glasbe se zrcali v njegovem prostem prehajanju znotraj različnih “žanrov” in
posledično je tudi njegovo glasbo nemogoče uvrsti v eno samo kategorijo.
Njegova glasba je bila izvajana tako na festivalih in koncertnih ciklih elektronske
eksperimentalne glasbe, kot je Club Transmediale v Berlinu, SuperDeluxe v
Tokiu ali NowNow Series v Sydneyu, kot tudi na festivalih za komorno glasbo,
kot so Wien Modern, Forum Neue Musik Deutschlandfunk, Zagrebški bienale,
ISCM World Music Days in mnogi drugi.
Dirty Light
In his talk “Dirty Light” Marko Ciciliani will present several of his works of the
past years where he composed for sound and light. The relationship that
he establishes between these media is based on an understanding that
sees both of them as semiologically charged entities. In the lecture he will
go into details of this concept and illustrate it with several examples of his
works. Also, he will speak about a current project where he superimposes
layers of musics of existing genres into walls of sound. This is yet another
example that conceives noise as a ‘symbolic form’ rather than a primordial
aural experience, as it is often commonly understood.
Marko Ciciliani (b. 1970, Zagreb) is a composer and performer of electronics
music, living in Vienna and Amsterdam. He is teaching electroacoustic
composition at the music universities in Vienna and Graz. Typical for Ciciliani’s
work is that it combines seemingly contradictory materials, giving the
composition a feeling of experiment and playfulness, with surprising turns and
a variety of color. In his more recent work a special field of interest lies in the
combination of sound and light, which was also the topic of his PhD research
that he completed in 2010 at Brunel University London. The different “genres”
in which Ciciliani’s music can be heard and seen, reflects his approach to
music which can not easily be placed in a single category. His music has
been programmed by festivals and concert series of electronic experimental
music like Club Transmediale Berlin, SuperDeluxe/Tokyo or the NowNow
Series/Sydney just as much as by festivals for chamber music like Wien
Modern, Forum Neue Musik Deutschlandfunk, Zagreb Biennale, ISCM World
Music Days and many more.
www.markociciliani.de
10. Oktober – 20. December
Tadej Droljc
(Slo)
Delavnice / Workshops — Vsak torek / Every Tuesday
Ljudmila – 17.00 - 20.00
Delavnice
Namen delavnice je seznaniti udeležence s teorijo in praktično uporabo
zvočne sinteze, osnovami digitalnega avdia, izdelavo sintetizatorjev zvoka
ter grafičnim programskim okoljem Max/MSP. Tekom delavnice se bodo
gradili različni moduli, katere se bo sproti sestavljalo v vse bolj kompleksen
sintetizator zvoka. Moduli bodo predstavljali zaprte implementacije
različnih teorij, konceptov in tehnik računalniške glasbe kot so aditivna
sinteza, subtraktivna sinteza, modulacijska (AM in FM) sinteza, distorzijska
(waveshaping) sinteza, granularna sinteza, polifonija, arpeggiator,
modulacijska matrica, zvočna rotacija itd. Delavnica je namenjena
začetnikom računalniške glasbe oziroma začetnikom na področju DSPja, zvočnim entuziastom, elektronskim glasbenikom in vsem, ki jih zanima
grafično programsko okolje Max/MSP. Za delavnico se potrebuje prenosni
računalnik ter program Max/MSP ali Max for Live. Poleg polne avtorizacije
je na voljo tudi enomesečna polno delujoča demo verzija ter 9 mesečna
študentska avtorizacija. MIDI kontroler ni obvezen, vendar je zaželen.
Workshops
The workshop aims to introduce participants to the theory and practice
of sound synthesis, digital audio basics, implementation of digital
synthesizers and graphical programming environment Max/MSP. During
the workshop various modules will be created that will be integrated into
more and more complex synthesizer along the way. The modules will
represent encapsulated implementations of various theories, concepts
and computer music techniques such as additive synthesis, subtractive
synthesis, modulation synthesis (AM and FM), distortion (waveshaping)
synthesis, granular synthesis, polyphony, arpeggiator, modulation matrix,
sound rotation etc. The workshop is intended for the computer music or
DSP beginners, sound enthusiasts, electronic musicians and for everybody
that is interested in graphical programming environment Max/MSP. A laptop
with Max/MSP or Max for Live will be needed for the workshop. Beside
full Max/MSP authorization there are also one month fully functional demo
versions and 9 month student authorizations available. MIDI controllers are
not compulsory although recommended.
datagazing.wordpress.com
Tadej Droljc je ljubitelj zvoka in glasbe, s čimer se aktivneje ukvarja od leta
2005, ko je postal član glasbene redakcije Radia Študent. Vzporedno
s tem je začel tudi ljubiteljsko ustvarjati elektronske zvoke in glasbo ter
se ukvarjati s terenskim snemanjem, kar ga je tri leta kasneje pripeljalo
na angleško fakulteto University of Hull. Tam bo v letošnjem juniju tudi
diplomiral iz smeri Computer Music (BSc). Preko izbirnih predmetov in
diplomske naloge se je še posebej usmeril v zvočno sintezo v audiovizualnem okolju Max/MSP in Jitter. V zadnjem času se aktivno posveča
grafični zvočni sintezi v realnem času, eksperimentalni in psy trance glasbi,
3D audio vizualizacijam, alternativnim načinom MIDI in OSC kontrole ter s
tem povezano interaktivnostjo. Pretekle izdelke lahko preverite na naslovu
http://datagazing.wordpress.com/
Tadej Droljc is a sound and music lover and has become actively involved
in that field in the year 2005 by becoming a member of Radio Student’s
musical editorial office. Along the way he was experimenting with electronic
sounds, music and field recordings that brought him to England 3 years
later where he started to study at the University of Hull. Tadej will graduate
in June 2011 from the Computer Music (BSc) course. Through specific
modules and dissertation he focused especially on sound synthesis and
design in the audio-visual environment Max/MSP and Jitter. Recently he
is focusing on real time graphical sound synthesis, experimental and psy
trance music production, 3D sound visualization and alternative ways
of human-computer interaction via MIDI and OSC. Past projects can be
checked at http://datagazing.wordpress.com/
Zapiski
Notes