The Exposition of Artistic Research: Publishing Art in Academia, edited by Michael Schwab and Henk Borgdorff introduces the pioneering concept of ‘expositions’ in the context of art and design research, where practice needs to be exposed as research to enter academic discourse. It brings together reflective and methodological approaches to exposition writing from a variety of artistic disciplines including fine art, music and design, which it links to questions of publication and the use of technology. The book proposes a novel relationship to knowledge, where the form in which this knowledge emerges and the mode in which it is communicated makes a difference to what is known.
The book contains a chapter written by me entitled “Artistic Sensibility and Aesthetic Sonification”.
To end 2013 here’s some nice guitar music by Macedonian musician Vlatko Stefanovski. I will dedicate some pages to his “interpretations” of the famous Macedonian folktune “Jovana, Jovanke” in my forthcoming (e-)book on improvisation, complexity, and singularity which I’m hoping to finish in 2014. Next to that I will be working on a Routledge sounding art companion which I’m editing with Barry Truax from Vancouver and Vincent Meelberg, my colleague at ACPA and co-editor of The Journal of Sonic Studies
The Listening Workshop, launched by Royal Holloway’s Humanities and Arts Research Centre, provides a new central London space for exploring questions of listening from multiple disciplinary perspectives. It has two interlocking strands. One of these is a Reading Group, co-convened by Rachel Beckles Willson and Carlo Cenciarelli, consisting of an open forum for discussing new and canonic texts on the history, ethnography and theory of listening. The other strand is a series of talks by speakers from a variety of disciplines (English Literature, Ethnomusicology, Geography, History, Media Arts, Musicology, Sociology). Subjects range from ‘sonic horror’ in fiction to sound design to urban soundscapes and beyond.
More info on http://www.rhul.ac.uk/harc/home.aspx
The origin of human music has long been the subject of intense discussion between philosophers, cultural scientists and naturalists. Researchers from the Max Planck Institute for Ornithology in Seewiesen, Germany and Cornish College of the Arts in Seattle, US, have now found striking parallels between our music and the song of a small brown bird living in the Amazon region. The Musician Wren favors consonant over dissonant intervals, something that has rarely been observed in other animal species before. This bird’s musicality goes even further: it prefers to sing perfect consonances (octaves, perfect fifths, and perfect fourths) over imperfect consonances leading to some passages which may sound to human listeners as if they are structured around a tonal center.
ora is a monthly series of one-hour long debates and voyages into listening and writing by Daniela Cascella and Salomé Voegelin, broadcasted on Resonance 104.4 FM at 8 pm GMT on the 4th Thursday of each month. Every episode will host a debate and enact a voyage with guests, words, and sounds, compositions, recordings, voices and silences, to encounter a number of issues in today’s discourse on listening.
In the third episode of ora (Sept. 26, 2013), Cascella and Voegelin ask questions around listening, sound and ethics: between a radio broadcast from Buchenwald and the ambiguities of a tale of eavesdropping, on the slippery edge between recording and document, between assumptions of truth and practices of listening and non-listening. Special attention was paid to my co-authored book Music and Ethics (Ashgate 2012).
You can listen and get more information here
Today I will be the keynote speaker at an international conference on music, the sacred, and the profane, organized by the musicological department of the university of Ljubljana. More info about the conference can be found on http://www.ff.uni-lj.si/oddelki/muzikologija/simpozij2013_spored_eng.html and http://www.ff.uni-lj.si/oddelki/muzikologija/simpozij2013_invitation.html
My presentation will deal with the topic what music as music can contribute to the current thoughts on spirituality, on the spiritual discourse, and, more specifically, on the definitions of spirituality in which a clear distinction is presented between the spiritual, the rational, and the corporeal. Point of departure is the thesis that music does not simply represent certain ideas on spirituality but that it actively contributes toward giving shape to those ideas. Through music, spirituality becomes articulated; music is one medium through which the spiritual is presented, through which the spiritual can manifest itself. In other words, spirituality is not only put into words (including all the problems that this entails), spirituality also (or, perhaps, in the first place) appears outside the discursive domain, for example in, through, or together with musical sounds. What interests me here is to investigate the possibility that, through music, through music as music – that is, through the active perception of music as a sonic event – certain thoughts concerning spirituality can be questioned, brought up for discussion, and submitted to reconsiderations. More specifically, I would like to address the question whether the opposition between the spiritual and the corporeal can be deconstructed through music as music, thereby opening a space to present another spirituality, a material spirituality.
How can one represent a city on film using an inter-disciplinary approach based on sounds? Andrew Standen-Raz’s movie Vinyl deals with the topic how to “view” a city through its sounds, mediated sounds created by musicians as well as mediated and free sounds created by speech, transportation, random sounds, and other forms of communication. Vinyl explicitly explores the creative methods and cultural influences of musicians and how their own relationship to the city of Vienna affected their music and their sense of self. Many of them are part of the klingt.org community of sound artists, experimenting with anything and everything to communicate through sounds.