61
ART / Re: the photography thread
« on: March 20, 2012, 11:09:51 am »
the waves are nice, but the dust is the best bit :)
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62
OTHER MUSIC / Re: What are you listening to?
« on: March 19, 2012, 08:12:03 am »
Had this one on repeat for days now.
Shinkei + mise_en_scene - scytale
on mAtter
Shinkei + mise_en_scene - scytale
on mAtter
63
SELF PROMOTION / Framework Radio, including mimosa|moize.
« on: March 10, 2012, 10:41:33 am »
I spotted this last night, a nice collection of sounds on Framework Radio, including a nice layering of sounds some being from our latest album on Dragon's Eye Recordings. I think it's a nice listen and worth checking out some of the other artists, some amazing stuff on there.
You can download or listen here:
http://www.frameworkradio.net/2012/02/363-2012-02-19/
I also pasted the details from the website too, so you can see who else is included.
For some reason we are referred to as mimosa, and not mimosa|moize, but the text is correct.
another slow burn show this week with some amazing sounds from a few artists new to the show (vahram muradyan, mimosa | moize, kirill platonkin, des coulam), along with some long-time regulars (doug haire, sala, cedric anglaret). but first i feel i must pay homage to one of our new discoveries – it was several months ago that the great gruenrekorder label sent us this stunning album of underwater sounds recorded by the ireland-based artist and scholar, tom lawrence. we hadn’t encountered him before, which now seems surprising, having researched a bit his activities, and we’ve never been in direct contact with him. so it was only in the process of putting together this playlist, after the show containing tom’s sounds had aired, that we discovered the sad news that tom lawrence passed away unexpectedly in october 2011. it is clear that the recording community has lost an amazing artist, and from what we have read, a wonderful person. our thoughts are with his family and friends, and we are proud to be able to include his sounds in this edition of the show.
(time / artist / track / album / label)
00:00 – 03:04 / vahram muradyan / framework introduction
http://www.vahrammuradyan.com
02:15 – 04:19 / doug haire / absence / melancholy aura / [self-release]
http://www.doughaire.com
02:46 – 12:42 / mimosa | moize / .o….. .. ….. / hear one near and think of the other / dragon’s eye
http://www.mimosamoize.com, http://www.dragonseyerecordings.com
05:23 – 11:13 / tom lawrence / point of gibraltar / water beetles of pollardstown fen / gruenrekorder
http://www.tom-lawrence.net, http://www.gruenrekorder.de
11:07 – 15:12 / kirill platonkin / takeoff / strata / tukuringra
http://kirillplatonkin.yolasite.com, http://tukuringra.wordpress.com
12:36 – 20:34 / cedric anglaret / [excerpt 1] / sweet albertine / elephant and castles
http://cedric.anglaret.free.fr, http://www.elephantandcastles.com
16:37 – 21:30 / des coulam / [excerpt 1] / a soundwalk in the musée carnavalet / -
http://soundlandscapes.wordpress.com
18:51 – 24:43 / tom lawrence / miltown feeder / water beetles of pollardstown fen / gruenrekorder
http://www.tom-lawrence.net, http://www.gruenrekorder.de
23:57 – 26:01 / doug haire / buckhannon / melancholy aura / [self-release]
http://www.doughaire.com
25:04 – 27:03 / mimosa | moize / ….n.. .. ….. / hear one mear and think of the other / dragon’s eye
http://www.mimosamoize.com, http://www.dragonseyerecordings.com
26:17 – 33:33 / sala / [excerpt 1] / jurmala revisited/breath / -
http://soundcloud.com/sala-1
30:45 – 39:37 / cedric anglaret / [excerpt 2] / sweet albertine / elephant and castles
http://cedric.anglaret.free.fr, http://www.elephantandcastles.com
33:27 – 40:15 / tom lawrence / clongownagh / water beetles of pollardstown fen / gruenrekorder
http://www.tom-lawrence.net, http://www.gruenrekorder.de
36:51 – 42:32 / des coulam / [excerpt 2] / a soundwalk in the musée carnavalet / -
http://soundlandscapes.wordpress.com
39:39 – 41:43 / doug haire / city rain / melancholy aura / [self-release]
http://www.doughaire.com
40:57 – 45:27 / mimosa | moize / ……. .f ….. / hear one mear and think of the other / dragon’s eye
http://www.mimosamoize.com, http://www.dragonseyerecordings.com
43:03 – 50:45 / sala / [excerpt 2] / jurmala revisited/breath / -
http://soundcloud.com/sala-1
47:04 – 52:53 / tom lawrence / seven springs / water beetles of pollardstown fen / gruenrekorder
http://www.tom-lawrence.net, http://www.gruenrekorder.de
48:38 – 55:25 / kirill platonkin / touchdown / strata / tukuringra
http://kirillplatonkin.yolasite.com, http://tukuringra.wordpress.com
54:58 – 57:00 / doug haire / campaign trail / melancholy aura / [self-release]
http://www.doughaire.com
You can download or listen here:
http://www.frameworkradio.net/2012/02/363-2012-02-19/
I also pasted the details from the website too, so you can see who else is included.
For some reason we are referred to as mimosa, and not mimosa|moize, but the text is correct.
another slow burn show this week with some amazing sounds from a few artists new to the show (vahram muradyan, mimosa | moize, kirill platonkin, des coulam), along with some long-time regulars (doug haire, sala, cedric anglaret). but first i feel i must pay homage to one of our new discoveries – it was several months ago that the great gruenrekorder label sent us this stunning album of underwater sounds recorded by the ireland-based artist and scholar, tom lawrence. we hadn’t encountered him before, which now seems surprising, having researched a bit his activities, and we’ve never been in direct contact with him. so it was only in the process of putting together this playlist, after the show containing tom’s sounds had aired, that we discovered the sad news that tom lawrence passed away unexpectedly in october 2011. it is clear that the recording community has lost an amazing artist, and from what we have read, a wonderful person. our thoughts are with his family and friends, and we are proud to be able to include his sounds in this edition of the show.
(time / artist / track / album / label)
00:00 – 03:04 / vahram muradyan / framework introduction
http://www.vahrammuradyan.com
02:15 – 04:19 / doug haire / absence / melancholy aura / [self-release]
http://www.doughaire.com
02:46 – 12:42 / mimosa | moize / .o….. .. ….. / hear one near and think of the other / dragon’s eye
http://www.mimosamoize.com, http://www.dragonseyerecordings.com
05:23 – 11:13 / tom lawrence / point of gibraltar / water beetles of pollardstown fen / gruenrekorder
http://www.tom-lawrence.net, http://www.gruenrekorder.de
11:07 – 15:12 / kirill platonkin / takeoff / strata / tukuringra
http://kirillplatonkin.yolasite.com, http://tukuringra.wordpress.com
12:36 – 20:34 / cedric anglaret / [excerpt 1] / sweet albertine / elephant and castles
http://cedric.anglaret.free.fr, http://www.elephantandcastles.com
16:37 – 21:30 / des coulam / [excerpt 1] / a soundwalk in the musée carnavalet / -
http://soundlandscapes.wordpress.com
18:51 – 24:43 / tom lawrence / miltown feeder / water beetles of pollardstown fen / gruenrekorder
http://www.tom-lawrence.net, http://www.gruenrekorder.de
23:57 – 26:01 / doug haire / buckhannon / melancholy aura / [self-release]
http://www.doughaire.com
25:04 – 27:03 / mimosa | moize / ….n.. .. ….. / hear one mear and think of the other / dragon’s eye
http://www.mimosamoize.com, http://www.dragonseyerecordings.com
26:17 – 33:33 / sala / [excerpt 1] / jurmala revisited/breath / -
http://soundcloud.com/sala-1
30:45 – 39:37 / cedric anglaret / [excerpt 2] / sweet albertine / elephant and castles
http://cedric.anglaret.free.fr, http://www.elephantandcastles.com
33:27 – 40:15 / tom lawrence / clongownagh / water beetles of pollardstown fen / gruenrekorder
http://www.tom-lawrence.net, http://www.gruenrekorder.de
36:51 – 42:32 / des coulam / [excerpt 2] / a soundwalk in the musée carnavalet / -
http://soundlandscapes.wordpress.com
39:39 – 41:43 / doug haire / city rain / melancholy aura / [self-release]
http://www.doughaire.com
40:57 – 45:27 / mimosa | moize / ……. .f ….. / hear one mear and think of the other / dragon’s eye
http://www.mimosamoize.com, http://www.dragonseyerecordings.com
43:03 – 50:45 / sala / [excerpt 2] / jurmala revisited/breath / -
http://soundcloud.com/sala-1
47:04 – 52:53 / tom lawrence / seven springs / water beetles of pollardstown fen / gruenrekorder
http://www.tom-lawrence.net, http://www.gruenrekorder.de
48:38 – 55:25 / kirill platonkin / touchdown / strata / tukuringra
http://kirillplatonkin.yolasite.com, http://tukuringra.wordpress.com
54:58 – 57:00 / doug haire / campaign trail / melancholy aura / [self-release]
http://www.doughaire.com
64
COMPUTER MUSIC / Re: audiomulch
« on: March 09, 2012, 12:50:38 pm »
Bidule is really worth checking out. The great thing about it is being able to control one parameter with another, making for some really interesting sounds and setting it as something very different to Audiomulch in that respect, and yet still sharing enough similarities.
65
COMPUTER MUSIC / Re: audiomulch
« on: March 07, 2012, 08:49:57 pm »
Audiomulch was one of the first major softwares I used when switching to include computers and it really was, and still is, an amazing tool. I can't say I really ever use it these days but am tempted to use it once again.
For me, as I am sure others will agree, was a great way to get at results quickly, and served as an essential stepping stone between using hardware gear, moving dials and faders, and switching to a slower computer working process.
I also found Max/MSP a little daunting back then, but again not really due to its complexity but more the balance of making music and programming wasn't one I liked. Having said that I persisted with the idea of using Max/MSP and decided to step to Bidule, this serving as another great stepping stone but this time to Max/MSP.
To learn Bidule quickly I arranged a live performance on it, and it wasn't long before switching to use Max/MSP.
For me, it was always about the sound, and although great, both Audiomulch and Bidule had a sort of fuzzy or soft sound to them, which is really great for lots of things, but I wanted something with very clean sound and also something that would push me. It was the typical few years of music being put aside slightly, and learning Max/MSP that took the lead, which was a but of a pain but it paid off, and I could still always quickly great something in other software at the same time, so no major problem.
I have wrote some of my all time favourite tracks using Audiomulch and Bidule, both great tools and worth buying and owning both.
It is a really good way to support someone too, as when I bought Audiomulch, I also emailed Ross with another software idea allowing parameters to sort of bounce between two extremities, something that could now be done easily(ish) in Max/MSP, and although liking my idea, at the time he was living in his car and so could not start any new projects…so just goes to show, do what you can to support these guys.
If you haven't got Audiomulch or Bidule yet, get them both!
For me, as I am sure others will agree, was a great way to get at results quickly, and served as an essential stepping stone between using hardware gear, moving dials and faders, and switching to a slower computer working process.
I also found Max/MSP a little daunting back then, but again not really due to its complexity but more the balance of making music and programming wasn't one I liked. Having said that I persisted with the idea of using Max/MSP and decided to step to Bidule, this serving as another great stepping stone but this time to Max/MSP.
To learn Bidule quickly I arranged a live performance on it, and it wasn't long before switching to use Max/MSP.
For me, it was always about the sound, and although great, both Audiomulch and Bidule had a sort of fuzzy or soft sound to them, which is really great for lots of things, but I wanted something with very clean sound and also something that would push me. It was the typical few years of music being put aside slightly, and learning Max/MSP that took the lead, which was a but of a pain but it paid off, and I could still always quickly great something in other software at the same time, so no major problem.
I have wrote some of my all time favourite tracks using Audiomulch and Bidule, both great tools and worth buying and owning both.
It is a really good way to support someone too, as when I bought Audiomulch, I also emailed Ross with another software idea allowing parameters to sort of bounce between two extremities, something that could now be done easily(ish) in Max/MSP, and although liking my idea, at the time he was living in his car and so could not start any new projects…so just goes to show, do what you can to support these guys.
If you haven't got Audiomulch or Bidule yet, get them both!
66
SYNTHESIZERS + SOUND-MAKING HARDWARE / Re: Nord Modular/Modular G2
« on: March 07, 2012, 07:41:46 pm »
I only got a chance to try it out on our last night before flying back to London, so it was a quick play, but I was impressed.
I don't know if you have seen one in the flesh but they look super nice. Stéphan (friend who owned it) had the version 1, so no christmas led stuff round the dials. He explained they have the version 3 in another studio, but I didn't get time to see this one.
It was slightly different to my Nords, with a tweaked red, and slight textured metal, with nice white text…amazingly beautifully looking machine, and this undoubtably made me like it before I even tried it out.
As for sound, I was really impressed. By comparison to all other Nords I have used, (Nord Rack 2, Nord Micro, Modular) it has a far cleaner and almost lighter sound to it. The bass is really heavy as with all Nords I've used, which I prefer, as like to cut it back rather than having to boost it.
The sample section I only got the chance to use with those samples already in memory, but I liked what it was doing.
For me it stood as a much like my Nord Rack, but a more versatile and different take on the Nord Sound.
I must say I really liked it and felt it would be a much liked and used addition to the Nord family, and perhaps used far more than my Nord Rack 2.
As you say not nearly as versatile as the Modular in many ways, but it did have some really nice comb filters, basic FM and multi filters than were a joy to hear slightly tweaked by an LFO.
The built in FX were also very nice and more than useable, feeling more as just an extension to the Nord than stuck on.
I think if I wanted to create nice, clean and interesting sounds, this would be my goto synth.
It was also nice to be able to create sounds more varied than the Nord Rack 2, and not have to visit the laptop screen as with the Nord Modular. It always feels a bit epic when using the Modular, but this was sweet and easy, and sounded great to my ears. Different enough to warrant owning, but certainly having that Nord sound in there.
Obviously try before you buy, but judging from what I hear in your own work Taylor, I think you will really like this one. I definitely recommend trying one out. I am going to find a store in London that has one in stock that I can try some more.
I don't know if you have seen one in the flesh but they look super nice. Stéphan (friend who owned it) had the version 1, so no christmas led stuff round the dials. He explained they have the version 3 in another studio, but I didn't get time to see this one.
It was slightly different to my Nords, with a tweaked red, and slight textured metal, with nice white text…amazingly beautifully looking machine, and this undoubtably made me like it before I even tried it out.
As for sound, I was really impressed. By comparison to all other Nords I have used, (Nord Rack 2, Nord Micro, Modular) it has a far cleaner and almost lighter sound to it. The bass is really heavy as with all Nords I've used, which I prefer, as like to cut it back rather than having to boost it.
The sample section I only got the chance to use with those samples already in memory, but I liked what it was doing.
For me it stood as a much like my Nord Rack, but a more versatile and different take on the Nord Sound.
I must say I really liked it and felt it would be a much liked and used addition to the Nord family, and perhaps used far more than my Nord Rack 2.
As you say not nearly as versatile as the Modular in many ways, but it did have some really nice comb filters, basic FM and multi filters than were a joy to hear slightly tweaked by an LFO.
The built in FX were also very nice and more than useable, feeling more as just an extension to the Nord than stuck on.
I think if I wanted to create nice, clean and interesting sounds, this would be my goto synth.
It was also nice to be able to create sounds more varied than the Nord Rack 2, and not have to visit the laptop screen as with the Nord Modular. It always feels a bit epic when using the Modular, but this was sweet and easy, and sounded great to my ears. Different enough to warrant owning, but certainly having that Nord sound in there.
Obviously try before you buy, but judging from what I hear in your own work Taylor, I think you will really like this one. I definitely recommend trying one out. I am going to find a store in London that has one in stock that I can try some more.
67
OTHER MUSIC / Re: What are you listening to?
« on: March 05, 2012, 12:34:33 pm »
Picking up my copy of France Jobin's - Valence (LINE), can't wait to hear this.
Huge fan of France's
und transit - NVO
(a split release with christophe charles)
tremendous work
Huge fan of France's
und transit - NVO
(a split release with christophe charles)
tremendous work
68
SELF PROMOTION / Re: Mimosa|Moize Live at Oboro, Canada
« on: March 05, 2012, 12:23:32 pm »
Me and Lucia just wanted to thank everyone who came to support us and who we met during our time at Oboro last Saturday.
It was an amazing evening with amazing work and performances from everyone, and we are honoured to be a part of such a great event.
Thanks again.
M + L
x
www.mimosamoize.com
www.mono-log.org
www.dragonseyerecordings.com
It was an amazing evening with amazing work and performances from everyone, and we are honoured to be a part of such a great event.
Thanks again.
M + L
x
www.mimosamoize.com
www.mono-log.org
www.dragonseyerecordings.com
69
SYNTHESIZERS + SOUND-MAKING HARDWARE / Re: Nord Modular/Modular G2
« on: March 05, 2012, 12:16:02 pm »
Just a quick one, I will be looking to upload some patches from my Nord to here (if I can get it to work) or provide a few links to the files.
If there are any patches in particular that anyone might want to view from my uploads at www.mono-log.org , then please let me know and I will see what I can put together in a file.
Also, although not Nord Modular I thought I would share the excitement, I am hoping to play about a bit tonight with a Nord Wave…so yes, excited.
M
If there are any patches in particular that anyone might want to view from my uploads at www.mono-log.org , then please let me know and I will see what I can put together in a file.
Also, although not Nord Modular I thought I would share the excitement, I am hoping to play about a bit tonight with a Nord Wave…so yes, excited.
M
70
STUDIO + RECORDING TECHNIQUES / Re: mixing tips
« on: March 05, 2012, 11:51:13 am »
I think from my experience in using different equipment and working processes to create, is that those 'rules' that might work well using one method, won't work as well in others.
I am thinking perhaps more specifically when comparing the use of multiple sequenced hardware synths etc with more classic routing on a mixer with external fx etc, compared to that of a more segmented stages of creating, using software and sound processing, perhaps no time line, and generally a less fixed process of creation.
I have found when using the laptop/computer for the majority of the work with the sounds, how I create, how fast, the gap to refresh my ears, the screen, not moving around the studio and the difference of standing to sitting have all been a difficult transition.
For me personally, and for what I consider is important for sound exploration, is that all techniques are just methods to bring sound into a particular and desired result with consideration to that genre and where that genre might be sound wise, at that particular time.
I have always felt that in electronic or experimental music, generally it has been in the final presentation of the sound, that has fallen to the more classic idea of 'correctness'.
Obviously none of this is right or wrong, but I felt it was an area of interest when considering the choices in recording techniques and what we consider 'good' sound and what we don't.
I feel it is not so much a question of using a 'particular' technique that should be the focus, but more to have an understanding of what each technique can bring to something 'if' it is picked, after all, everything should be a viable and useable technique.
I am thinking perhaps more specifically when comparing the use of multiple sequenced hardware synths etc with more classic routing on a mixer with external fx etc, compared to that of a more segmented stages of creating, using software and sound processing, perhaps no time line, and generally a less fixed process of creation.
I have found when using the laptop/computer for the majority of the work with the sounds, how I create, how fast, the gap to refresh my ears, the screen, not moving around the studio and the difference of standing to sitting have all been a difficult transition.
For me personally, and for what I consider is important for sound exploration, is that all techniques are just methods to bring sound into a particular and desired result with consideration to that genre and where that genre might be sound wise, at that particular time.
I have always felt that in electronic or experimental music, generally it has been in the final presentation of the sound, that has fallen to the more classic idea of 'correctness'.
Obviously none of this is right or wrong, but I felt it was an area of interest when considering the choices in recording techniques and what we consider 'good' sound and what we don't.
I feel it is not so much a question of using a 'particular' technique that should be the focus, but more to have an understanding of what each technique can bring to something 'if' it is picked, after all, everything should be a viable and useable technique.
71
OTHER MUSIC / Re: What are you listening to?
« on: March 01, 2012, 12:14:47 pm »
I'm listening to the heating slowly warm up our friend home in snowy Montreal…brrrr 
72
SELF PROMOTION / Re: Mimosa|Moize Live at Oboro, Canada
« on: February 28, 2012, 03:47:46 am »
Oh excellent, hope to meet you there :)
M
M
73
SELF PROMOTION / Mimosa|Moize Live at Oboro, Canada
« on: February 26, 2012, 10:23:28 am »
Hi all
Me and Lucia are going to be one of the acts playing live at the Oboro in Canada, on Saturday March 3rd.
It is the first live performance we have done together since our MK Gallery work almost a year ago, of which our album on Dragon's Eye Recordings is based.
As well as us performing, Robert Crouch and David Kristian will be playing that same day, with works/screenings from us and many others.
I've pasted the details below, and also you can view them at the following link.
Hope to meet some of you there :)
M
http://www.oboro.net/archive/exhib1112/05_sublimation/info_en.html
Sublimation: An Exercise in the Immersive
Exhibition
March 3 – April 7, 2012
Opening
Saturday, March 3, at 5 pm
Audio Screening
Studio 04
Saturday, March 3, from Noon to 7:30 pm
Live Performances
Studio 01
Saturday, March 3, from 7:30 pm to 8:30 pm
(pass required, available at OBORO from Tuesday, February 28)
Curators:
Helen Frosi, France Jobin and Yann Novak
Artists:
• Exhibition: Mark + Laura Cetilia (US), Ryan Connor (US), Robert Crouch (US), Gary James Joynes/Clinker (CA), Mimosa|Moize (TW/UK), Tu M' (IT)
• Live Performances: : Robert Crouch (US), David Kristian (CA), Mimosa|Moize (TW/UK)
• Audio Screening: Katherine Bennett (US), Celer (Will Long | Danielle Baquet-Long) (US/JP), Stéphane Claude (CA), Heribert Friedl (AT), Scant Intone (Constantine Katsiris) (CA), Robin Parmar (UK/CA/IE), Tomas Phillips | Craig Hilton (US), Tom White (UK)
Sublimation is an exhibition featuring a range of audio-visual works created by eight international artists, curated in response to the concept of the 'Sublime Environment': the saturation of both sonic and visual landscapes, represented by works of absorbing sound and visual art.
On the opening day of Sublimation, the exhibition will be complimented by three live performances and an audio screening by ten international artists in the form of immersive sonic environments and contemplative sound sculpture.
The sensory environment of the exhibition together with the live performances and audio screening will envelop the audience in both an emotional and visceral experience: drawn equally from sonic and visual spectrums.
Helen Frosi is an artist and curator with an interest in sonic and olfactory arts, currently based in London (UK). Helen is co-founder and creative director at SoundFjord the UK's first sound-devoted gallery and research unit. As a serial collaborator with nomadic tendencies, Helen has programmed internationally for organisations and festivals as well as creative and unconventional arts spaces. Recent projects include screenings, performance and installations for, among others, Apiary Studios (UK), Café Oto (UK), Dragonfly Festival (SE), Galerie8 (UK), Gorey Arts and Film Festival (IE), ICA (UK), Pigeon Wing (UK). Helen is currently a nominator at Supersonix (UK).
soundfjord.org.uk
France Jobin (1958) is a sound/installation artist and curator residing in Montreal. She has created solo recordings for ROOM40 (AUS), nvo (AT), ATAK (JP), murmur records (JP) and LINE (USA). Her sound installation Entre-Deux presented within the new media exhibit DATA/FIELDS, was met with critical acclaim in Washington DC. Curated by Richard Chartier, DATA/FIELDS included Ryoji Ikeda and Mark Fell among others. As a curator, she has presented several events, amongst those: emptiness at Monkeytown, New York (2006), Nocturne 3, Mutek in 2007 (co-curator) and her latest endeavour Immerson (2011) at OBORO, a concert event/philosophy which she initiated and is curating.
francejobin.com
Yann Novak is a sound, video and installation artist based in Los Angeles. He has presented his installation work through solo exhibitions at 323 Projects (CA), Armory Center for the Arts (CA), Las Cienegas Projects (CA), Lawrimore Project (WA), Soundfjord (London, UK) and in two person exhibitions at the Henry Art Gallery (WA) and Pøst (CA). In 2005, Novak re-launched his father’s Dragon’s Eye Recordings imprint with a new focus on limited edition releases by emerging and mid-carrier sound artists, composers and producers. Since its re-launch, Dragon’s Eye has published over 60 releases and has received critical acclaim.
yannnovak.com
Me and Lucia are going to be one of the acts playing live at the Oboro in Canada, on Saturday March 3rd.
It is the first live performance we have done together since our MK Gallery work almost a year ago, of which our album on Dragon's Eye Recordings is based.
As well as us performing, Robert Crouch and David Kristian will be playing that same day, with works/screenings from us and many others.
I've pasted the details below, and also you can view them at the following link.
Hope to meet some of you there :)
M
http://www.oboro.net/archive/exhib1112/05_sublimation/info_en.html
Sublimation: An Exercise in the Immersive
Exhibition
March 3 – April 7, 2012
Opening
Saturday, March 3, at 5 pm
Audio Screening
Studio 04
Saturday, March 3, from Noon to 7:30 pm
Live Performances
Studio 01
Saturday, March 3, from 7:30 pm to 8:30 pm
(pass required, available at OBORO from Tuesday, February 28)
Curators:
Helen Frosi, France Jobin and Yann Novak
Artists:
• Exhibition: Mark + Laura Cetilia (US), Ryan Connor (US), Robert Crouch (US), Gary James Joynes/Clinker (CA), Mimosa|Moize (TW/UK), Tu M' (IT)
• Live Performances: : Robert Crouch (US), David Kristian (CA), Mimosa|Moize (TW/UK)
• Audio Screening: Katherine Bennett (US), Celer (Will Long | Danielle Baquet-Long) (US/JP), Stéphane Claude (CA), Heribert Friedl (AT), Scant Intone (Constantine Katsiris) (CA), Robin Parmar (UK/CA/IE), Tomas Phillips | Craig Hilton (US), Tom White (UK)
Sublimation is an exhibition featuring a range of audio-visual works created by eight international artists, curated in response to the concept of the 'Sublime Environment': the saturation of both sonic and visual landscapes, represented by works of absorbing sound and visual art.
On the opening day of Sublimation, the exhibition will be complimented by three live performances and an audio screening by ten international artists in the form of immersive sonic environments and contemplative sound sculpture.
The sensory environment of the exhibition together with the live performances and audio screening will envelop the audience in both an emotional and visceral experience: drawn equally from sonic and visual spectrums.
Helen Frosi is an artist and curator with an interest in sonic and olfactory arts, currently based in London (UK). Helen is co-founder and creative director at SoundFjord the UK's first sound-devoted gallery and research unit. As a serial collaborator with nomadic tendencies, Helen has programmed internationally for organisations and festivals as well as creative and unconventional arts spaces. Recent projects include screenings, performance and installations for, among others, Apiary Studios (UK), Café Oto (UK), Dragonfly Festival (SE), Galerie8 (UK), Gorey Arts and Film Festival (IE), ICA (UK), Pigeon Wing (UK). Helen is currently a nominator at Supersonix (UK).
soundfjord.org.uk
France Jobin (1958) is a sound/installation artist and curator residing in Montreal. She has created solo recordings for ROOM40 (AUS), nvo (AT), ATAK (JP), murmur records (JP) and LINE (USA). Her sound installation Entre-Deux presented within the new media exhibit DATA/FIELDS, was met with critical acclaim in Washington DC. Curated by Richard Chartier, DATA/FIELDS included Ryoji Ikeda and Mark Fell among others. As a curator, she has presented several events, amongst those: emptiness at Monkeytown, New York (2006), Nocturne 3, Mutek in 2007 (co-curator) and her latest endeavour Immerson (2011) at OBORO, a concert event/philosophy which she initiated and is curating.
francejobin.com
Yann Novak is a sound, video and installation artist based in Los Angeles. He has presented his installation work through solo exhibitions at 323 Projects (CA), Armory Center for the Arts (CA), Las Cienegas Projects (CA), Lawrimore Project (WA), Soundfjord (London, UK) and in two person exhibitions at the Henry Art Gallery (WA) and Pøst (CA). In 2005, Novak re-launched his father’s Dragon’s Eye Recordings imprint with a new focus on limited edition releases by emerging and mid-carrier sound artists, composers and producers. Since its re-launch, Dragon’s Eye has published over 60 releases and has received critical acclaim.
yannnovak.com
74
SYNTHESIZERS + SOUND-MAKING HARDWARE / Re: Nord Modular/Modular G2
« on: February 22, 2012, 01:44:41 pm »
Thanks Cebec
I really appreciate the comment :)
I will trying to get them up a bit earlier in the day (UK time), too many late nights working and finding it difficult to wake up at 6:30AM :)
Thanks again for listening.
M
I really appreciate the comment :)
I will trying to get them up a bit earlier in the day (UK time), too many late nights working and finding it difficult to wake up at 6:30AM :)
Thanks again for listening.
M
75
OTHER MUSIC / Re: What are you listening to?
« on: February 21, 2012, 01:11:11 pm »
I have a guilty pleasure of The Art Of Noise The Ambient Collection.
Such an amazing album, I love that Fairlight sound, and an album that grabbed me on its release and still is a joy today :)
Such an amazing album, I love that Fairlight sound, and an album that grabbed me on its release and still is a joy today :)