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TUESDAY 06.04.2021, 6PM (CET)


In this artist talk Jana Winderen will present Through the Bones, reporting on two diverse field trips to the ocean in the Arctic and Tropic regions. She will present examples from her extensive archive of hydrophone recordings and discuss the practice and practicalities of listening through water. She will share how she works with sounds once they are collected, demonstrating pieces she has composed using underwater recordings.

Jana Winderen is an artist who currently lives and works in Norway. Her practice pays particular attention to audio environments and to creatures which are hard for humans to access, both physically and aurally - deep under water, inside ice or in frequency ranges inaudible to the human ear. Her activities include site-specific and spatial audio installations and concerts, which have been exhibited and performed internationally in major institutions and public spaces. Recent work includes The Art of Listening: Underwater for Audemar Piguet at Art Basel, Miami, Rising Tide at Kunstnernes Hus in Oslo, Listening with Carp for Now is the Time in Wuzhen, Through the Bones for Thailand Art Biennale in Krabi, bára for TBA21_Academy, Spring Bloom in the Marginal Ice Zone for Sonic Acts and Ultrafield for MoMA, New York. In 2011 she won the Golden Nica at Ars Electronica for Digital Musics & Sound Art. She releases her audio-visual work on Touch (UK).

FRIDAY 09.04.2021, 7PM (CET)

Friday 09.04.2021, 7PM, on Zoom

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Soundwalking, as a key methodological component of soundscape practice, also forms one of the main influences for soundscape composition, whether of the more naturalistic, phonographic approach, or the abstracted variety where more overt sound processing is involved. Soundwalking experience can inform the structure of a soundscape composition by appearing to move the listener through a physical acoustic space, or in other cases, through a foreshortened time frame. From the relatively crude simulations of the World Soundscape Project in the 1970s, to today's use of sophisticated digital processing, this presentation will provide examples of soundwalking inspired soundscape works, including the Truax's recent piece Rainforest Raven.

Barry Truax is a Professor Emeritus in the School of Communication at Simon Fraser University. He worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication, that deals with sound and technology, now in its 2nd edition. In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France. Truax's multi-channel soundscape compositions are frequently featured in concerts and festivals around the world. In 2015-16 he was the Edgard Varèse Guest Professor at the Technical University in Berlin.

WEDNESDAY 14.04.2021, 6PM (CET)

Wednesday, 14.04.2021, 6PM, on Zoom
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LISA WILLIAMS / Travelling Rhythms

Focusing on a grave of a formerly enslaved woman from the Caribbean in Central Edinburgh, Lisa Williams will explore the importance of sound in conserving the memory and location of ancestral roots across continents and centuries of dislocation. The presentation comprises a pre-recorded walk in the vicinity of the grave and a live Q&A session with Lisa.

Lisa Williams is the founder of the Edinburgh Caribbean Association and curates arts events and walking tours to promote the shared heritage between Scotland and the Caribbean. Lisa has a BA in African and Asian Studies, and an MA in Arts, Festival and Cultural Management. She is a Research Associate at the Royal Botanic Gardens Edinburgh and an Honorary Fellow in the School of History, Classics and Archaeology at the University of Edinburgh.


THURSDAY 15.04.2021, 6PM (CET)

Thursday 15.04.2021, 6PM, on Zoom

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Patrick Farmer will use this moment as a chance to speak about walking by speaking about tinnitus, and speak about tinnitus by speaking about walking. As he explains: "walking for me is metabolic, an affective register in which the whole body guides me. I wrote my first three books whilst walking and as such, walking is almost entirely absent from their pages. To this day I don't know what tinnitus is. I wrote my next few books under its influence, and you can hear it rising from their pages. I feel I am at a point now where walking and tinnitus are one and the same practise, so I'll also speak about this combination as methodology".

Patrick Farmer is a co-founder of Compost and Height, editor of the new-music journal Wolf Notes, founder of the Sound I'm Particular lecture series and a curator of the audiograft festival. He teaches in Oxford, where he is currently running the On Vibration virtual lecture series, and lives on the Malvern Hills. Farmer has published several books and written music compositions for groups such as Apartment House and the Set Ensemble. Forthcoming projects include To Suckle a Field of Monsters, a book concerned with positioning the hair cells of the inner ear as a model for the recomposing notion of human identity, and a chapter for a new book on Aural Diversity, published by Routledge in October 2021.

TUESDAY 20.04.2021, 6PM (CET)

Tuesday 15.04.2021, 6PM, on Zoom

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Combining examples of explorations of borders in the sound arts and a reflexion on my own project Hong Kong SoundBorderscapes (a mentorship program lead in 2019 to question the borders between Hong Kong and Mainland China) this talk proposes listening as a situated and relational methodology to problematize the linear, fixed image of borders conveyed by maps, to explore their temporal, dynamic and performative character as well as the (new) ways they manifest themselves in our everyday spaces and practices. The sanitary crisis and the restrictions imposed by nation states on their territories have dramatically shown the ongoing power of geo-political borders, fostered their internalisation and generated new forms of embodied boundaries. Today more than ever, borders are less and less linear and rather become pervasive and mobile, while acquiring an unprecedented significance in every field of our life. On a global scale, some of the most important cultural, social, economical and political issues rise exactly from the dynamics between border reinforcement and border struggles. In order to account for these transformations, border studies have elaborated new notions and theoretical frameworks introducing more complex, multiple and process-based understandings of borders. In this framework, borders are thought as fluid spaces, continuously constructed, redefined, reinforced or transgressed by a multiplicity of discourses, practices and bodies and manifesting themselves in multiple forms and places, as apparatuses of selection, control and surveillance.

Elena Biserna is a scholar and independent curator based in Marseille. She is associate researcher at PRISM (AMU /CNRS) and TEAMeD (Université Paris 8). Her interests are focused on listening and on contextual, time-based art practices in relationship with urban dynamics, socio-cultural processes, the public and political sphere. She has taught at ESAAix-École Supérieure d'Art d'Aix-en-Provence, Aix-Marseille University and the Academy of fine art of Bologna. She has given talks at different conferences, festivals and events. Her articles and interviews have appeared in several international publications (Les Presses du Réel, Mimesis, Le Mot et le Reste, Errant Bodies, Amsterdam University Press, Cambridge Scholar, Castelvecchi, Bloomsbury, etc.) and journals. She co-curates the series La Membrane, the seminar Pratiques de l'écoute, écoute de pratiques at IMéRA Marseille and co-edits the column wi watt'heure of Revue & Corrigée with Carole Rieussec. As a curator, she has collaborated with several organisations and presented her projects in different contexts such as Manifesta 13 (Marseille); Q-O2 (Brussels), Standards (Milan), Locus Sonus (Aix-en-Provence), La Friche la Belle de Mai (Marseille), soundpocket (Hong Kong), Sant'Andrea degli Amplificatori (Bologna), Cona Zavod (Ljubljana), Xing (Bologna), Saout Radio, Centrale Fies - art work space (Dro).