Cartesian Birds (shared habitat, Jorge Boehringer) and new installation work from Andie Brown, Sam Gillies, David Velez, and Ryoko Akama: Saturday May 19th University of Huddersfield!

Two Separate Events Offer (free) Occasion to See And Hear New Installation Work at the University of Huddersfield This Saturday May 19; 12:00-20:00 pm

Re.Sound in conjunction with A Shadow of a Shadow presents a day of installation and performance from Jorge Boehringer, Andie Brown, Sam Gilles and David Velez at the University of Huddersfield.

 

Four of the works will appear in the Creative Arts Building (CAB) and are detailed below…more full event information: https://www.facebook.com/events/377646566071426/

Works include:

Jorge Boehringer – Cartesian Birds [shared habitat]

Andie Brown – Partita for Unattended Glass Harp [installation – work in progress]


Sam Gilles – Infinitely gentle, infinitely suffering [installation]

David Vélez – Beige is the true colour of melancholy [installation]

Ryoko Akama ‘a poem piece’ [sound installation]

Ryoko Akama’s sound sculpture that will be located in the Heritage Quay from 9:15-17:00 pm.

Also please note that Ryoko Akama’s work is part of a separate event, and there may be limited access during some parts of the day.  This event is a poetry symposium titled “The Motley Muse: The Various Art of Poetry or ‘Not the Royal Wedding’.  This is a public event and all are welcome, if you are interested in that event full details may be found here: https://themotleymuse.wordpress.com/

 

Please note that this event is part of the Re.Sound Series in conjunction with A Shadow of a Shadow: a night of live performances curated by Ching Wu, aka Cyanching, in the Creative Arts Building at the University of Huddersfield on 18th May https://www.facebook.com/events/164578104204977/

 

Cartesian Birds

[shared habitat]

Various Transitional Spaces in CAB building, including:

{3rd Floor Landing Outside of Lift, Eastside Stairwell North Between 2nd and 3rd Floor, Eastside Stairwell South Between 1st and 2nd Floor, Westend Stairwell Between 2nd and 3rd Floor, and Perhaps Other Scattered Areas Depending on Weather}

Cartesian Bird

Cartesius dubiahæsitanoquantapus

Jorge Boehringer

Natural selection has provided Cartesius dubiahæsitanoquantapus with a unique plumage with which it blends with, and modifies, its environment.  Seldom spotted[1] and rarely heard, the existence of the species was in doubt until recent increases in awareness, particularly among the young.  A descendant of Archaeopteryx photographica, dubiahæsitanoquantapus have been bred in captivity and yet nevertheless evidence unique instinctual behaviors.  An example of one such tendency is that, although blind, dubiahæsitanoquantapus has been known to utilize a sort of coordinate geometry, by which they often conduct themselves along unexplored routes, having no reason to hope for success, but merely being willing to risk the experiment of finding whether or not the truth they seek lies there.  This has been compared to the blind curiosity by which homo sapiens are possessed, and which drives them at times to rational rather than empirical beliefs, from which they then rebel.

The variability of the outward appearance of dubiahæsitanoquantapus is matched by that of their song, which mimics both the mechanical utterances of other birds, and also the texts of French philosopher Renatus Cartesius (15961650).  In fact, it is possible to hear entire excerpts from Discourse on the Method and Meditations on First Philosophy melodically intoned and in a variety languages, interwoven into the texture of their song.  Most often heard are extracts from Descartes’ work on music theory, the Musicae Compendium, interestingly, this particular song is never heard in translation, always instead appearing in its original latin.

[1] though often variegated.

 

JORGE BOEHRINGER – www.jorgeboehringer.com

Jorge found and photographed the first Cartesius dubiahæsitanoquantapus.

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Andie Brown:

Atrium

Partita for Unattended Glass Harp [work in progress]

Partita for Unattended Glass Harp is an automated/augmented glass harp comprising oversized wine glasses, transducers and electronics.

ANDIE BROWN – www.andiebrownsound.com

Andie Brown is a British artist and musician who began her music career as a bass player in her teens, working with a number of bands over the course of the following two decades. In 2007 Andie began performing and recording as a solo artist under the name These Feathers Have Plumes. Over the last decade, Andie has been experimenting with glass and electronics, creating what she has termed an “augmented glass harp”. Andie has performed extensively including at Colour Out of Space and Full of Noises Festivals and at venues such as Cafe OTO, Union Chapel and the De La Warr Pavilion. She has has also taken part in ensemble works including with Part Wild Horses Mane on Both Sides at Tate Britain and at White Cube Gallery for Christian Marclay conducted by Steve Beresford. Elsewhere, Andie has enjoyed collaborating with a diverse range of artists including Sophie Cooper, Joincey, Kelly Jayne Jones, Dale Cornish, Leslie Deere and Phil Julian but most often with artist and vocalist Sharon Gal. Since 2016 Andie has also been working with sound installation and film. In 2017, Andie was nominated for the PRSF Oram Awards. Andie is also Treasurer of Yorkshire Sound Women Network.

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David Velez

CAM G/16

Beige is the true colour of melancholy
(Multichannel installation)


This piece was made with sine waves, sounds recorded in the kitchen of chef Lag at the Little Chili Thai restaurant in Huddersfield, and sounds recorded in Cooking concert #3 an event presented in Colombia on January of 2018 with Felipe Rodríguez and cook Madi Castro. Material treated and sequenced using open source software.

DAVID VELEZ – www.davidvelezr.tumblr.com

David Vélez is a Colombian artist working primarily with sound in lines such as composition, performance, installation, sculpture and video.

In the work of David, the cultural, social, economical and environmental context in which he works is the main conceptual and formal source for his pieces. Coming from a field recordings background, David is very interested in the aesthetic action of listening to everyday sounds and in working with found everyday objects.

David has performed in Cafe OTO in London, the MoMA in NYC and in festivals and events such as Mutek (Col), Tsonami (Chi), Umbral (Mex), CT::SWAM (NYC), Liminaria (Ita) and Aural Detritus (UK). His installations and sculptures has been presented in museums and galleries like FRAC des pays de la Loire Museum (Fra), Casa Hoffman Gallery (Col), Valenzuela Klenner Gallery (Col), MAMM (Col), Pi Artworks (London), Espacio Odeon (Col) and in public spaces in Colombia, Italy, Brazil and México. David’s compositions have been published in CD and cassette formats by Flaming Pines (London), Dinzu Artefacts (US), Éter (Col), Unfathomless (Bel) Linear Obsessional (UK) and Gruenrekorder (Ger) among others labels.

David is currently the director and co-founder of Impulsive Habitat, a label focused on experimental music and sound art, and works as editor and co-founder of the sound research project Sonic Field.

 

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Sam Gillies

Spiral Studio (CAM 2/15)

Infinitely gentle, infinitely suffering [installation]

In the end though, it was the blue light that got him which, all things considered, wasn’t the worst way to go. A figure on the screen entered to applause. ‘Apologies, I am here now’ they remarked, to raucous laughter located somewhere in the ether. He saw the light extend its reach and though it appeared to be emanating from the television, he knew its origin was more organic than that, bled into the walls of his home and coursing through the fabric of the carpet, and that seeking to trace its source to a particular point was an exercise in futility. While he had not thought that it would happen today, he knew that the light was always waiting.

http://www.samgillies.com/

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Ryoko Akama

‘a poem piece’ sound installation

at the Motley Muse, Creative poetry symposium @ The Heritage Quays, University of Huddersfield, UK

I am a sound artist/composer/performer who approaches listening situations that magnify silence, time and space. My work aims to offer quiet temporal/spatial experiences, and is connected to literature, fine art and mixed media (technology). I employ small and fragile objects such as paper balloons and glass bottles in order to create tiny aural and visual occurrences that embody ‘almost nothing’ aesthetics. I compose text scores and perform a diversity of alternative scores in collaboration with international artists.

I run melange edition and co-curate a small independent publisher, mumei publishing

http://ryokoakama.com/

 

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