This book fell this morning on my door mat.  It contains great essays by Michael Schwab, Jonathan Impett, Juan Parra, Mieko Kanno and many others … and one by me too: “Artistic Research and Sound Art in Public Urban Spaces.”

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From the article: “It is the aim of this chapter to expand and examine in more detail how artistic research and sound art relate to one another. To do so, I will concentrate on several existing sound art works, all situated in public urban spaces. The main reason for this demarcation is that working on and with public urban spaces often requires more “research” from the sound artist than producing a so-called autonomous, non-site-specific art work. I will try to answer questions such as: How do sound artists contribute towards developments in the arts as well as knowledge production? Which spaces of research and which methodological tools do they use? Which new concepts have they developed? It is my hope that this chapter will show that artistic research and sound studies—both still marginal (and marginalised) in current academic fields—contribute in significant and unique ways towards rethinking our being-in-and-with-the-world.”

In what follows I pay attention to Max Neuhaus, Peter Cusack, Edwin van der Heide, and Asa Stjerna, and connect their work to micropolitics and sonic materialism.

 

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Together with Vincent Meelberg I organized a special session entitled Soundscapes from a Humanities/Arts Perspective during the Internoise 2019 Conference in Madrid. Find here a short text I composed for the conference proceedings. In the text I rethink the role sound art can play in relation to soundscapes, a role that exceeds the merely audible.

 

Very happy with my new set of hydrophones – thank you, Jez R. French! Although the Danube was really quiet, I’ve made some nice recordings!

While sipping a “domestic” coffee in my favorite cafe on the Danube in Belgrade I read this beautiful essay by Brandon LaBelle, “Sonic Site-Specifities,” from the huge book Sound Art, edited by Peter Weibel. Brandon’s text deals with the political, social, and ethical benefits of sound art; IMO, it is a must-read for anyone interested in this art form. Simultaneously, I was listening to this beautiful underwater recording by Sharon Stewart, which connects so very well to Brandon’s message.

https://soundcloud.com/sharonrstewart/under-the-algae-marsh-serenade

A recent interview about the Garenmarkt project in Leiden – I’ve formulated some recommendations for a sonic design of this urban space.

In September 2018 I have published a  Report  (in Dutch) commissioned by the city government of Leiden (NL) on the sonic redesigning of a public space (the Garenmarkt) in Leiden (co-authors Cilia Erens and Irene van Kamp). The report is based on a short research project, Cilia, Irene and I carried out between May and September 2018.

Photo: Cilia Erens1 Luisteren naar de Garenmarkt 14-7-18 foto Cilia Erens IMG_1864

Wonderful Colloquium in Paris on September 26 with a keynote by Richard Sennett

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This text is a slightly reworked version of a keynote speech I gave in Aveiro (Portugal) during the PERFORMA 2015 Conference on Musical Performance, organized by the University of Aveiro, the Institute of Ethnomusicology (INET-MD), and the Brazilian Association of Musical Performance (ABRAPEM).

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I was asked to contribute an essay to the 50th issue of the Serbian journal New Sound. And also because my wife is Serbian I decided to write a sonic postcard from Belgrade in which (Serbian) sounds, sound art, and musics converge. See: http://www.newsound.org.rs/pdf/en/ns50/21.M.Cobussen.pdf

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Find below a link to a short text, an audiofile with interviews with Edwin van der Heide and me, and lots of photos made during the opening ceremony of “Fluisterende Wind”

http://sleutelstad.nl/2017/12/01/auditief-kunstwerk-nieuwe-passage-leidse-hortus/