Guest Talk – Riar Rizaldi

We will have Artist Riar Rizaldi in our next colloquium held on 24 Nov 2016 (Thursday) to give a talk with the topic “Designing Performance Ecosystem – from body intervention to looping system”. The talk will be started at 5:00 pm in M6094 Future Cinema Studio.

Date: 24 Nov 2016 (Thursday)
Time: 5:00 pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Riar Rizaldi poster web.jpg

Topic: Designing Performance Ecosystem – from body intervention to looping system

Abstract:
In an attempt to set out possibilities for the exploration of material interaction, spatial relationship, temporality, body intervention, looping system, and media archeology, Rizaldi builds a performance ecosystem and installation settings that often enhanced public engagement and interaction. As he examines novel interaction and new knowledge, the process of designing the physical surrounding is essential in assembling the performance ecosystem on his work, in which visually rudimentary. Through a presentation of his current project and previous works, Rizaldi will investigate the necessities of designing his performance ecosystem and installation setting to communicate his ideas, as well explore the notion of why the design-led methods (Research Through Design) matters as a foundational process of his works.

About the Speaker:
Riar Rizaldi is an artist from Indonesia. His works mainly focus on the relationship between motion images, lights, spatial presentation, sound structure, primitive technology, and their intervention with the performance ecosystem and installation settings. Through his works, he questions the notion of a/temporality, im/materiality, media archeology, design-led methods, and technology ad/disadvantages in human life. His works has been presented in a festival such as Kuala Lumpur Experimental Film Video and Music Festival, Art in The City Festival Shanghai, All Ears Festival Oslo, Festival B:OM Seoul, Asian Meeting Festival Tokyo, and Lausanne Underground Film & Music Festival. In addition, he has performed his performance piece internationally in Bandung, Jogjakarta, Bangkok, Kuala Lumpur, Newcastle-upon-Tyne, London, Sheffield, and Berlin. Rizaldi is also a co-founder of an art collective Salon, in which a platform focusing on exploration and experimentation in the field of experimental music and improvisation in Bandung, Indonesia.

To find out more about Riar Rizaldi, you can check out his pages.

Guest Talk – Peter Lenaerts

We will have Sound Artist Peter Lenaerts in our next colloquium held on 22 Nov 2016 (Tuesday). The talk will be started at 5:00 pm in M6094 Future Cinema Studio.

Date: 22 Nov 2016 (Tuesday)
Time: 5:00 pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Peter Lenaerts poster web.jpg

Topic:
The Music Before Music Becomes Music: The Sound Of An Empty Room

Abstract:
“She was telling me how every room has a note. You just have to find it.” (Richard Flanagan)

We are surrounded by sound all the time. Some of it we hear, some of it we choose to ignore. Most of it passes us by unnoticed.

No building or room is ever silent. From its structure to its surroundings, buildings hum and drone, shriek and hiss. Every space resonates.

Sound always orginates somewhere. But no matter where it comes from, it’s always inside our ears as well. We don’t simply perceive it, we mold it, shape it, interpret and absorb it.

Peter Lenaerts has been obsessed with the sound of empty rooms ever since he spent the night in an underground motel room in the South Australian desert. He has since collected sound recordings in theatres, concert venues, a new city in China, and the Sydney Opera House. These recordings shape and make up his work. In this public talk, he will share some of these sounds and stories, and the concepts and the ideas that guide them.

About the Speaker:
Peter Lenaerts is a Belgian sound artist active in the fields of performance, contemporary dance, & film. Lenaerts is fascinated by empty spaces and invisible or acousmatic sound. Sound that doesn’t scream for attention but sneaks into the listener’s ear unnoticed. Sound without ego, pure sound, with a focus on the medium rather than the maker.

Recent work includes Phantom Opera (2016) & MicroSleepDub (2015). Phantom Opera is a radio piece that explores the room tones and acousmatic or phantom sounds of the Sydney Opera House. MicroSleepDub is a durational sleep performance built around a sound composition of room tone and field recordings from a new city in China and the Sydney Opera House.

Apart from his own work, he has created soundtracks and composed music for choreographers and performance artists like Mette Ingvarsten, Andros Zinsbrowne, Salva Sanchis, ao. He strongly believes that in a culture dominated by visuals, nothing is as powerful, intense, and rewarding as simply listening.

He lives and works in Sydney and Brussels.

To find out more about Peter Lenaerts, you can check out his pages.

 

Performance

Besides, Peter has a performance in Hong Kong (not counted as colloquium), please refer to the introduction and link below:
https://www.facebook.com/events/1730795580580189/
http://www.wingplatform.org/peter-lenaerts/

MICROSLEEPDUB | 《微睡眠混音》演出
Performance: Free entrance / RSVP Required

19 November 2016, 20:30 @ WING
11月19日 晚上8時30分 永天台
免費入場,敬請預約

Description:

MicroSleepDub, The First Hour

WING is delighted to invite sound artist Peter Lenaerts for a residency from 17 to 27 November.

For his performance in WING, the artist will perform the first hour of MicroSleepDub, a sleep performance that usually goes for 8 hours.

The sleep performance MicroSleepDub is about micro sound, architecture and urbanism. It’s a durational performance built around a sound composition for dub plates. In MicroSleepDub, Peter Lenaerts listens and looks for sounds that are too quiet, too vague, or too low. By using the microphone as a microscope, he zooms in and amplifies these neglected, underexposed and discarded sounds. MicroSleepDub is an all night performance, where listening and sleeping are both encouraged.

In preparation for MicroSleepDub, Lenaerts spent a week recording in Nansha, a so-called State Level New Area in China. 15 years ago it was rural farmland, now it’s a rapidly developing city with high-rise apartments, office buildings, shopping malls, hotels, and a dilapidated entertainment park. It’s a city built for one million, but the current population is around 300,000. Nansha is not a ghost town, because no one left, but not many people have arrived yet, giving the city an eerie and empty feeling. Nansha is caught between a rural past and high-tech future, the present that lies in between is out of sync with reality, and already slowly but surely falling apart. Lenaerts also collected sounds during two nights alone at the iconic Sydney Opera House where he recorded its empty theater spaces, rehearsal and dressing rooms, and concert hall. With these recordings, Lenaerts creates a live soundtrack for four dub plates – LPs without a protective layer causing the groove to wear itself out and making the sound disintegrate over the playing time.

In addition to his research in Nansha, Lenaerts will explore the city of Hong Kong to challenge the way people experience the urban environment and discover how architects and urban planners take sound into account. By focusing on sounds usually ignored or filtered by what we see, the artist questions our perception, which nowadays is largely dominated by vision.

Guest Talk – Eric Chan a.k.a. eepmon

We will have Digital Artisan Eric Chan a.k.a. eepmon in our next colloquium held on 10 Nov 2016 (Thursday) to give a talk with the topic “Critical Arts! Every Creator Needs to Know in the Digital Age”. The talk will be started at 5:00 pm in M6094 Future Cinema Studio.

Date: 10 Nov 2016 (Thursday)
Time: 5:00 pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Eric Chan poster web.jpg

Topic: Critical Arts! Every Creator Needs to Know in the Digital Age

Abstract:
MAGIC. We all have it. It lies dormant in each and everyone of us. Can you remember what were the things that made you excited? Something that you really connected with? A sunset… or perhaps it was that spark of excitement when you made your first digital creation in Photoshop? Through a presentation of works spanning from my early childhood to my profession today, I will speak on the notion of magic and my 5 critical points that I believe every artist / designer needs to know to realize their creative potential in the Digital Age.

About the Speaker:
Eric Chan a.k.a. eepmon, is a Digital Artisan intersecting computer code and drawing. His multidisciplinary creations combine the handmade with digital design.

eepmon saw how the Internet transformed world industries, with art as no exception, and with this he was inspired to become an artist of the Digital Age. “Technology provides a new area for innovators and artists to experiment and develop new modes of creative expression.” He sees the computer as an artistic tool, just like the paintbrush, and with a desire only a truly passionate artist could have, set out to generate dense, dynamic and beautiful digital graphic compositions that attracted clients like Marvel, Canada Goose, Microsoft Xbox, and more.

Exhibitions include the Library and Archives Canada, Design Exchange Museum, TEDx Toronto, HPGRP Gallery NYC, and the Ottawa Art Gallery. Press features include GQ Magazine France, Highsnobiety, Selectism, JAY-Z’s Life+Times, Computer Arts, and Applied Arts.

He has been accepted into artist residencies at The School of Visual Arts in New York City and the Banff Centre. Accolades include the 2015 Design Exchange Museum Emerging Designer Cosentino People’s Choice and the Young Alumni Achievement Award at Carleton University. His work has been acquisition into the Canada Council Art Bank.

A former design professor, eepmon is currently a Principal Investigator and Digital Artist Resident at the Algonquin College Applied Research and Innovation Centre in Ottawa, Canada.

To find out more about eepmon, you can check out his pages.

Guest Talk – Masaki Fujihata

We will have new media artist Masaki Fujihata in our next colloquium held on 08 Nov 2016 (Tuesday) to give a talk with the topic “Anarchive 6 Masaki Fujihata”. The talk will be started at 6:30 pm in M6094 Future Cinema Studio.

Date: 08 Nov 2016 (Tuesday)
Time: 6:30 pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

How to go to School of Creative Media


Topic: Anarchive 6 Masaki Fujihata

Abstract:
I will talk about my recent publication “Anarchive 6 Masaki Fujihata” which was released from edition Anarchive in Paris, France. The series of publication is focused on media artists and their art works in the form of multimedia technology, such as CD-rom based interactive application, DVD-rom, and Augmented Reality. Through the production of my book, I had to think what I had been making over 40 years, from 8m/m film to digital network. Through analyzing my own art works, I realized that making an archive of media art is also a kind of creation of a new medium.

About the Speaker:
Masaki Fujihata is one of the pioneers of Japanese new media art, beginning his career working in video and digital imaging in the early 80s. As an early practitioner of the application of new technologies to the process of artmaking, he was one of the first artists to use stereolithography, a technique in which a laser polymerizes a liquid resin as it sweeps its surface. He also created the worlds smallest sculptures by using the manufacturing techniques for integrated circuits (at 10m and 100m, these works are visible only with an electron microscope). However, he is most recognized for his sophisticated interactive network installations and his primary concern has been to employ multimedia technology in order to examine the possibilities for communication within virtual spaces. His interactive works include Removable Reality (1992), which used an infrared cordless phone, and Impressing Velocity (1994), in which he used a laptop computer equipped with GPS to digitally map Mount Fuji, making it available for viewers to explore interactively. He believes that “reality does not conflict with virtuality: it is the complementary aspect of a similar space of life.” Fujihata has exhibited extensively throughout Japan and will be participating in the upcoming Yokohama Triennale. Internationally, he has exhibited at the 1983, 1984, 1996, and 2000 Siggraph conferences (USA), Ars Electronica (Linz), DEAF (Rotterdam), “CyberForum” ( Lisbon), VEAF (Vancouver) and his work is part of the permanent collection of the ZKM (Karlsruhe).

To find out more about Masaki Fujihata, you can check out his pages.

Guest Talk – Carl Stone

We will have Composer Carl Stone in our next colloquium held on 04 Nov 2016 (Friday) to give a talk with musical performance. The talk will be started at 4:00 pm in M6094 Future Cinema Studio.

Date: 04 Nov 2016 (Friday)
Time: 4:00 pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Carl Stone poster web.jpg

Abstract:
As a musical instruction, “as slow as possible” has appeared in composers’ scores for the past several centuries. In the past such a term had meaning because of the constraints of human abilities and the limits of instrumental mechanics. Furthermore, in classic analog electronic music the limits were finite due to the tyrannical linkage of pitch and time implied by the term “frequency” But in the digital world these constraints no longer exist. Instead the real problem to realize music “as slow as possible” in the digital age is due to Xeno’s Paradox – anything that is slowed down can be slowed down still more. In this lecture I talk about the implications of musical slowness in both the analog and digital ages and I present some music from my own musical history to demonstrate some key points.

About the Speaker:
Carl Stone is one of the pioneers of live computer music, and has been hailed by the Village Voice as “the king of sampling.” and “one of the best composers living in (the USA) today.” He has used computers in live performance since 1986. Stone was born in Los Angeles and now divides his time between California and Japan. He studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. His works have been performed in the U.S., Canada, Europe, Asia, Australia, South America and the Near East. In addition to his schedule of performance, composition and touring, he is on the faculty of the Media Engineering Department, School of Engineering at Chukyo University in Japan.

To find out more about Carl Stone, you can check out his pages.

Guest Talk – Jolanta Woszczenko

We will have Curator and Historian Jolanta Woszczenko in our next colloquium held on 01 Nov 2016 (Tuesday) to give a talk with the topic “Recording of ephemeral: Polish video performance”. The talk will be started at 5:00 pm in M6094 Future Cinema Studio.

Date: 01 Nov 2016 (Tuesday)
Time: 5:00 pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

jolanta-woszczenko-poster-web

 

Topic: Recording of ephemeral: Polish video performance

Abstract:
Performance is by definition determined by the artist, place, time and the audience. What would happen if the order was disrupted? What if the artist decided to make a performance without the audience, and just record it with video? Then, should it been seen as a video piece or a performance? What is the relationship between a video and a performance? During the lecture, together we will also analyse how our and artists\’ cultural affiliations influence creating and interpreting an artwork. The screening will include videos of critically acclaimed creators as well as up-and-coming Polish artists, such as Kuba Bielawski, Witosław Czerwonka, Honorata Martin, Marek Rogulski, Piotr Urbaniec, Wojciech Zamiara.

About the Speaker:
Jolanta Woszczenko is a curator and historian. She completed a post-graduate museum and curatorial programme at the Jagiellonian University. She is currently writing a PhD at the University of Gdańsk on experimental film and video. At the Laznia Centre for Contemporary Art in Gdańsk in Poland she runs the Parakino cycle of monthly meetings with experimental film, video artists and curators from Poland and abroad. She also co-curate monthly meetings with accademics. She has curated, among others, reviews of Laure Prouvost, Omer Fast and Coco Fusco. She curated the first presentation of Christoph Schlingensif in Poland at the Laznia CCA, Ujazdowski Castle CCA in Warsaw and Signs of the Times CCA in Toruń. She has curated and co-curated exhibitions at the Łaźnia CCA, Ujazdowski CCA and the Gdańsk Shipyard. She is the editor of Kolonia Artystów w Stoczni Gdańskiej 2001–2011 (The Artists’ Colony in the Gdańsk Shipyard 2001–2011). Jolanta Woszczenko is a member of International Association of Curators of Contemporary Art.

Guest Talk – Sofía Sienra

We will have Visual Artist Sofía Sienra  in our next colloquium held on 25 Oct 2016 (Tuesday) to give a talk with the topic “Hacking the world. Towards an aesthetic of the invisible”. The talk will be started at 5:00 pm in M6094 Future Cinema Studio.

Date: 25 Oct 2016 (Tuesday)
Time: 5:00 pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

sofia-sienra-poster-web

Topic: Hacking the world. Towards an aesthetic of the invisible

Abstract:
In a context of hyper-lighting and surveillance society remaining hidden or anonymous has become almost impossible. Invisibility is conceived not only as the strategic way of operation of power but as a tactical space of cultural production. This presentation seeks to explore the realm of the unseen and discuss the invisibilization process in visual arts from three categories: the artist, the subject and the context. Instead of claiming a leading role and producing objects of worship, there are practices that operate outside official channels, creating their own paths, hacking structures in a nomadic attitude that aims to reshape the world.

About the Speaker:
Sofía Sienra is a researcher, professor and visual artist born in Uruguay who lives in Mexico since 2012. She graduated from the Master in Visual Studies with honors for the work entitled “Minimal actions. Towards an aesthetic of the invisible”. Her research interests focus on the intersection between aesthetics, technology and politics. She participated in several collective art exhibitions in Uruguay, England and Mexico. Professionally, she has worked as a cultural journalist, photographer and audiovisual producer. In the academic field, Sofía has published articles and books, shared her research in several meetings, seminars and conferences (Center for Digital Culture, Museum of Fine Arts in Mexico City) and organized two conventions at Mexico University (International Week of Sound and Visual Studies International Forum).

To find out more about Sofía Sienra , you can check out her pages.

Guest Talk – Sune Petersen

We will have Installation Artist Sune Petersen in our next colloquium held on 04 Oct 2016 (Tuesday) to give a talk with the topic “Look: you can hear it! How Chaotic systems can look and sound good”. The talk will be started at 5:00 pm in M6094 Future Cinema Studio.

Date: 04 Oct 2016 (Tuesday)
Time: 5:00 pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

Sune Petersen poster.jpg

Topic: Look: you can hear it! How Chaotic systems can look and sound good

Abstract:
Through a presentation of works Sune will give a glimpse into his work with vision and sound. The traditional hierarchy of creating visuals for music is reversed and the music is generated from the visuals, whether it being digitally generated real time video, electro-mechanical machines or radio frequency noise it all generate sound in ways that are either not intended as such or even considered noise. For many of his works controlled chaos is used in the form of feedback. Feedback generates an almost organic fluidity that is difficult to create using traditional methods of generating visuals, that even translate into interesting sounds.

About the Speaker:
Sune Petersen\’s work life has three facets. Artistic, commercial and educational. His artistic practice mainly evolve around generative video performance and playful performative installations. He has been active in this field since 1997 and has seen and is constantly exploring the technology for new possibilities. A background in science, having studied both physics and computer engineering, in combination with a creative approach to technology, have opened up for commercial work for instance in museums where he creates interactive installations using complex projections and multiple channels of audio to mediate architecture, the history of europe, pixels and inventions, prison life, Japanese cosplay culture and much more. Having been on the forefront in the creative use of technology, Sune has been teaching in different contexts which includes institutions all across Europe and an extensive period at Aalborg University. He often bases his teaching on insights gathered during his commercial and artistic work in order to draw connections between theory and praxis.

To find out more about Sune Petersen, you can check out his pages.

Guest talk – John Drever

The third colloquium sessions this semester will be on Thursday, the 29th of September. We will meet at 5:00pm on the 6/F in the Future Cinema Studio (M6094). We will have speaker Prof. John Levack Drever presents an emerging agenda of auraldiversity within sound art with the topic “Sound Art – Whose Hearing?”.

Date: 2016-09-29 (Thursday)
Time: 5:00pm
Venue: M6094 Future Cinema Studio, 6/F, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

 

John Drever poster.jpg

Title:
Sound Art – Whose Hearing?

Abstract:
For those of us who practice sound art, we have a tendency to extol an incredibly wide range of uniquely positive attributes to listening. It enables us to: connect, communicate, relate, localise, embody, discern, transcend, immerse. Through listening our lives and our relation to our surrounding environments is enriched and intensified. Thus as sound artists our unspoken primary motive is to actively devise and explore opportunities for sonic epiphanies. In the entrancing words of Pauline Oliveros, we “strive for a heightened consciousness of the world of sound and the sound of the world” (Deep Listening 2016). And to help harness and maximise this potential, thanks to Augoyard & Torgue, Chion, Ihde, Kassabian, Norman, Ronell, Schaeffer, Schafer, Smalley Truax, et al. have all given name to an ever more nuanced compartmentalisation of kinds of listening. Shifting the prevailing discourse from listening onto our actual auditory apparatus of our sense of hearing, from the findings of my recent research, in particular my review on the noise impact of high-speed hand dryers (Drever 2013), I am obliged to propose that the contrary is a reality for many. Hearing: perturbs, isolates, excludes, disconnects, disembodies, dislocates. Hearing hurts! This is the chronic predicament for those living with tinnitus, hyperacusis, misophonia and phonophobia, and also for those with particular hearing needs such as the partially sighted, hearing aid users or those with sensitive hearing such as children and ASD. Bringing acoustics and audiology into play, in this talk I will propose a new paradigm for situating hearing in sound art that extends from an idealized, clinical model of hearing, the otologically normal (BS ISO 226:2003), to a socio-cultural concept of the auraltypical. Asking us to question, whose listening we are in fact dealing with? In conclusion, with reference to my own sound art work, including a multi-speaker installation recently presented in a toilet in Aarhus, Denmark, I will present an emerging agenda of auraldiversity within sound art.

 

About the Speaker:
Operating at the intersection of acoustics, sound art, soundscape studies, and experimental music, Drever’s practice represents an ongoing inquiry into the affect, perception, design and practice of everyday environmental sound and human utterance. He has a special interest in soundscape methods, in particular field recording and soundwalking. Drever is Professor of Acoustic Ecology and Sound Art at Goldsmiths, University of London, where he leads the Unit for Sound Practice Research and is Deputy Dean of the Graduate School.

He is an avid collaborator and has devised work in many different configurations and contexts internationally. Commissions range from the Groupe de Recherches Musicales, Paris (1999), Arts Council England (2002, 2007, 2013), WDR Studio Akustische Kunst (2011).

An elected director of Sonic Arts Network since 2004, Drever became its final chair in 2008. He was a co-founder (1998) and chair of the UK and Ireland Soundscape Community (a regional affiliate of the World Forum for Acoustic Ecology) for whom he chaired Sound Practice: the 1st UKISC Conference on sound, culture and environments in 2001 at Dartington and Sound Practice 2006 at Goldsmiths.

He is an Academician of The Academy of Urbanism, a Member of the Institute of Acoustics, a Guest Professor, The Department of Digital Design and Information Studies, Aarhus University, Denmark and a Visiting Research Fellow at Seian University of Art and Design, Japan. In 2007 he was a Visiting Scholar, at the School of Creative Media, City University of Hong Kong.

To find out more about our speaker, you can check out his page here.

Guest Talk – Gary McLeod

We will have British photographer Gary McLeod in our next colloquium held on 22 Sep 2016 (Thursday) to give a talk with the topic “An Unfolding Journey: Rephotography and the Challenger Expedition”. The talk will be started at 5:30pm in M6094 Future Cinema Studio.

Date: 22 Sep 2016 (Thursday)
Time: 5:30pm
Venue: M6094 Future Cinema Studio, Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong

gary-mcleod-poster

Topic: An Unfolding Journey: Rephotography and the Challenger Expedition

Abstract: 
Considering photographing as an implicitly collaborative act, Gary McLeod is a British photographer who creates opportunities for others to contribute explicitly to a process of knowledge-making. First encountering in 2006 a set of photographs made during the Challenger expedition (a 19th Century British mission to circumnavigate the world and advance scientific knowledge of its oceans), contemporary residents were invited to join in collectively rephotographing sites where the original pictures were taken. That prompted a seven-year journey, which not only opened up his practice to others’ voices/contributions, but also highlighted critical issues of authorship and literacy in contemporary uses of photography. Following an overview of rephotography as a genre and a set of common visual practices, this talk tells of a photographic journey into uncertainty and provides a glimpse of where photography can/cannot go. Holding a PhD in Photography from London College of Communication, Gary currently lives in Tokyo and works everywhere else.

To find out more about Gary McLeod, you can check out his pages.