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Singing Sculpture Exhibition, Artist Talks, Performance


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8 Sound Artists with varied backgrounds will each present an existing or site specific out door Sound Installation work alongside a talk and / or a performance relating to the topics below at Cobalt Studios.

Artists: Guoda Dirzyte, Joshua Legallienne, Jordan Edge, Maja Mihalik, Navid Asghari, Ingrid Plum, Robbie Chase, Thomas Tyler, + More TBA.

This exhibition represents Sound Art, Acoustic Ecology, Heightened Soundscapes & Sound Awareness. Aeolian art is a sound sculpture or object that reacts to the natural environment, wind, temperature, anything that can naturally generate or amplify sound without using any electronics or using its own power source (Solar etc.) 

Sound Installations will run over 5 days 11am-8pm and will be open to the public. 

Talks & Performances will happen each day from 2 of the exhibiting artists 6-8pm | Thursday - Sunday. 

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ACOUSTIC ECOLOGY

Acoustic Ecology or ‘soundscape studies’ is an exploration of how living beings react to their inhabited environment through the mediation of sound, this can be looked at through many different perspectives. Some perspectives involve the minimization of unwanted sound or noise pollution in order to nurture and preserve the characteristics of a sound environment. Others deal with how living beings relate to their sonic surroundings, (psycho-acoustics, physical acoustics, cultural meanings of sound) to provide an educational purpose guiding architects when designing urban and landscape architecture to contemplate environmental sound. Another perspective is to use sound as an art-form or artistic element in which acoustic ecology brings forth use of sound, recorded sound or the creation of soundscape to stimulate environmental surroundings, heightening the importance of our sonic environment and conscious listening skills.

The rise of knowledge concerning Acoustic Ecology has lead to working sound artists responding at first hand to global environmental issues, blurring the line between art and environment or life, focusing on major issues such as noise pollution, pollution, energy use, sustainability, biodiversity and so on in their creative practice. These raised issues have been highly definitive towards a certain environmental movement of sound art “Soundscape Ecology” (The combination of fields such as acoustic ecology, bioacoustics, psychoacoustics and spatial ecology.) As we see sound art delving into environmental concerns it brings forth a strong anatomy to an artistic multidisciplinary medium in which the effectual qualities and well being of the ecosystem are present in environmental soundscapes.

The rise of knowledge concerning Acoustic Ecology has lead to working sound artists responding at first hand to global environmental issues, blurring the line between art and environment or life, focusing on major issues such as noise pollution, pollution, energy use, sustainability, biodiversity and so on in their creative practice. These raised issues have been highly definitive towards a certain environmental movement of sound art “Soundscape Ecology” (The combination of fields such as acoustic ecology, bioacoustics, psychoacoustics and spatial ecology.) As we see sound art raising environmental concerns it brings forth a strong anatomy to an artistic multidisciplinary medium in which the effectual qualities and well being of the ecosystem are present in environmental soundscapes.


LISTENING

My understanding of modal listening is giving yourself a set of rules and techniques to tune into and using them to heighten your capabilities of listening, letting yourself be aware to your surroundings.

Modal listening techniques are considered to heighten auditory perceptions. A number of sound practitioners including R. Murray Schafer, Pierre Schaeffer, Robin Minard, J Milo Taylor speak of these listening modes as they practice them to sharpen their aural senses and gain further understanding of our sonic environment. Practicing sound walks and site-specific sound installations engages us with our sonic surroundings. 

Understanding our soundscape becomes of importance as it shapes our everyday listening experience, what is heard by the listener as an unpleasant sound or a pleasing sound? Proposing an acoustic environment upon an architectural design or structure shapes our perception of sonic identity in relation to that space. Soundscape design for an acoustic environment should enhance our sonic surroundings subtly with use of already existing sounds, (“the original sounds must stay recognizable and the listener’s contextual and symbolic associations should be invoked.”) shaping our sonic world to be understood environmentally and developing a consciousness for heightened listening, understanding our ever-changing soundscape. 

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Artists & Works


GUODA DIRZYTE (LTU)

Bio:

AKA Gong Girl is a Lithuanian-born experimental musical instruments designer, composer and sound artist. Guoda’s work is mainly orientated towards exploring world music and sound culture. It focuses on the approach to life and communication rather than cultural industry, and critically examines the Eurocentric approach towards musical culture traditions. Guoda questions the purpose of art and music by exploring Dadaism, Surrealism and Fluxus movements, and applies it to her work by using found objects, experimental/noise music and destruction aesthetics. 

Guoda looks for inspiration for her homemade instruments in various world cultures. By using not only formal shapes of traditional instruments from different cultural backgrounds, but also the D.I.Y. aesthetics, an untypical manner of playing the instrument, she tries to experiment with it and reinvent it for experimental music situations. Her main interests are in African and Asian cultures, especially Japanese life aesthetics and their relation to sound/music. Guoda aims to use her designed instruments as one of the main sources of sound for her installations, compositions and audio-visual artworks.

Her installation works are about kinetics, Dadaism, (self)destruction and usage of homemade instruments and sound sculptures which are made of junk. Her installations can be viewed as a critique of the contemporary art aesthetics and desire to make art more relevant to the ordinary life. 


JOSHUA LEGALLIENNE (UK)

Bio:

Joshua Legallienne is an artist exploring the sonic qualities of everyday materials; creating high-fidelity sound without the use of loudspeakers, electronics, or conventional sources of energy. Legallienne’s work is unmediated, exploring notions of intimacy through an investigation of the relationship between environmental phenomena and the physical properties of raw materials.


JORDAN EDGE (UK)

Bio:

Jordan Edge is a UK-based sound artist, sound designer, and performer. Edge’s practice communicates the act of listening over time, and listening as a process to develop greater understanding of our environmental and sonic surroundings. In his most recent works, Edge has been experimenting with industrial fans & Latex to manipulate the medium through which sound travels, creating reactive sound environments that explore the physical and psychological effects of noise on the human body and mind. Utilising self built instruments, latex beds, industrial fans, metal housings and processed vocals, he conditions architectures with crushing rhythmic noise pierced with sublime minimalistic composed sequences. Jordan represents an expression of environmental industrialism communicated through a phyiscal body of sonority. Edge was the recipient of the Seoul (South Korean) Award of Excellence for his large scale installation work, 'Acclimate'.

Work:

Singing Polymers - 

Singing Polymers represents unconventional sound objects such as developed sculptural metal & latex structures coinciding with natural soundscapes, heightening the ideology of causal listening. This Aeolian Sound Sculpture highlights the subtle physicalities within the weather, amplifying the fluctuations in environmental change to develop an understanding of sound in the here and now. Singing polymers invites you to heighten your listening, hearing the details captured in wind movement, rainfall and your already existing soundscape. 


MAJA MIHALIK (UK/H)

Bio:

Maja is a sonic/installation artists whose practice is lead by curiosity and playfulness with an awareness towards the ethical implications of creation as a process as well as an outcome. She deconstructs issues of cultural heritage, history, time, biodiversity, technology versus nature and synesthesia as well as waste, recycling and object permanence. The notions of chance and accidents are a returning element in both the sonic and visual aspects of her work. 


NAVID ASGHARI (UK/IRA)

Bio:

Navid Asghari is a composer whose works have featured in BAFTA award-winning BBC features and short films. He produces carefully constructed sound narratives, blending subtle textures and overtones accompanied by synthesised rhythms and electroacoustic properties. Navid manipulates both electronic and acoustic physicality’s, forming an intricate fuse between musical score, sound design, delicate narrative and emotional undertones of the film subject. Asghari also works as a sound artist focusing on environmental change through ideologies of dark ecology and blurring the line between science and art. 


INGRID PLUM (UK)

Bio:

Ingrid Plum uses her voice with extended technique, improvisation, field recordings and electronics, to create layered soundscapes, spoken word and songs. Described by The Guardian as “gorgeously atmospheric vocal techniques woven around field recordings & electronics” she has performed and exhibited installation art internationally since 2002, creating work that sits between sound art, improvisation, multi-media installation, neo-classical and contemporary Nordic folk music. Incorporating her research into folk traditions with field recordings and studying directly with Meredith Monk her recent performances have been described as “succinct and nourishing... a luxuriant space between almost excessive precision and looser improvisation" by The Wire.

Work:

BirchLight - 

Birchlight is a light responsive installation using prisms, fishing wire, solar powered noisemaker, amp and birch tree. It uses found glass prism objects to refract the sunlight amongst the birch branches whilst the wind changes the amount of light filtering through the birch tree leaves activating the audio signal. You can watch an interview about the making of Birchlight here: https://vimeo.com/224113106


ROBBIE CHASE (UK) 


THOMAS TYLER (UK) 

Bio:

Currently my practice aims to explore the social effects tied with technology in a condition that seems to be descending into further simulation. My work utilises ready-made objects/media in an effort to present how creative practice might exist in the form of selection as opposed to physical craftsmanship. This is done in order to question the direction of assemblage in relation to contemporary art practice, in a state in which objects/media have become more accessible when obtained as opposed to crafted—it could be said that this has resulted in a shift in what can be deemed DIY.


+ MORE TBA