Nygren's news and audio
By Tomas Nygren
To listen to an audio podcast, mouse over the title and click Play. Open iTunes to download and subscribe to podcasts.
Podcast Description
Audio documents from the contemporary art scene in Stockholm and other areas of my interest. Topics covered: Contemporary Art, Photography, Media Criticism, Philosophy Events, Discussions, Nature Sciences, non-Idiomatic Music, Experimental, Own Projects.
| Name | Description | Released | Price | ||
|---|---|---|---|---|---|
|
1 |
LEGOLAND alpha test: Fylkingen 17 February 2012 | production name: LEGOLAND Media: Shortwave, audio and performance, misc Branches: Hidden, Education, Expo, Distribution alpha stage test: Fylkingen 17 February 2012 (web info) free entrance Performance some time between 17.30-22.30 (16.30-21.30 UTC) | 1/25/12 | Free | View In iTunes |
|
2 |
8/3 Vad har hänt sedan sist? Discussion on women in the art music and impro scene | Dennbsp; 8/3 arrangerade Nya Perspektiv paring; Culturen i Vauml;steraring;s ett samtal om kvinnor, kompositouml;rer och den experimentella scenen. Samtalet inleds av mig (producent fouml;r Nya Perspektiv) med naring;gra fraring;gor till panelen. inledande text: Idag kan man skouml;nja en positiv tillvauml;xt fouml;r kvinnor inom kompositouml;rsyrket. Auml;nnu auml;r det inte fair game, maring;nga aring;lderdomliga uppfattningar spelar en stor roll auml;ven idag om hur kvinnors sjauml;lv-bild utformas och vilka vauml;gar som auml;r mouml;jliga och betydelsefulla. Musikhistoriens manliga genier prauml;glar auml;n idag en stor roll fouml;r vad som auml;r viktigt musikaliskt sett. Detta gauml;ller speciellt inom den klassiska musiken men auml;ven inom improvisationsmusiken till stor del. Utouml;ver vissa punktnedslag genom aring;ren (t.ex. LARM, Opus 96) har ett antal viktiga nauml;tverk sedan 2000 talet varit viktiga fouml;r kvinnors utouml;kade mouml;jligheter att naring; fler bestauml;llare. Bl.a. KVAST, IMPRA osv. Kan vi idag sparing;ra en tillbakagaring;ng? Nauml;r stereotypa bilder via media bidrar till ett passivt, konsumentinriktat skouml;nhetsideal hos unga tjejer? I vilket sammanhang kan de skapa mening som kreatouml;rer? Paring; vilket sauml;tt har mauml;nnen i t.ex. mansdominerade bandkulturer skapat fouml;rutsauml;ttningar fouml;r kvinnor att kunna kauml;nna signbsp; vauml;lkomnade som kompositouml;rer och instrumentalister, och inte bara som vackra vokalister? Vi botaniserar kring inbjudna nauml;tverk och kollar av dagslauml;get hur olika aktouml;rer har fouml;rsouml;kt att faring; in skapande kvinnor i musiken, hur man ska se paring; utvecklingen av musikskapare hos yngre generationer? Paneldiskussion om kvinnor i konst, och improvisationsmusiken (mp3) Medverkande: Lina Nyberg (IMPRA), Lisa Ulleacute;n (FYLKINGEN) Tebogo Monnakgotla (KVAST), Patrik Karlsson (URUK) 1 h 51 min 12 sek, mp3 insp. 8/3 2011 mdash;mdash;mdash;mdash;mdash;mdash;mdash;mdash;mdash; Fouml;r att faring; en inblick i samtalet kan man bla. lauml;sa lite i dessa dokument nedan: Paring; vauml;g mot jauml;mstauml;lld scenkonst - Kulturraring;dets skriftserie 2009:1 Plats paring; Scen - Betauml;nkande av Kommitteacute;n fouml;r jauml;mstauml;lldhet inom scenkonstomraring;det (2006) Laring;ngt kvar till jauml;mstauml;llt kulturutouml;vande av Fatima Grouml;nblad och Inga-Bodi l Ekselius Ett geni auml;r alltid en man av Anne Jalakas Kvinna och musiker? Rauml;kna varken med pengar eller priser! (Mitt i Musiken, 2008) | 3/9/11 | Free | View In iTunes |
|
3 |
Karlheinz Essl updates Lexikon-Sonate to v. 3.3 | I have been following Karlheinz Essl since 1998 and he is the maker of this fascinating Max MSP generated application. In the first versions on Mac OS9 classic you could see how everything was made and you could obtain your own unlock code for the application to generate midi signals. However, now this app is locked and considered more as an performance art piece from Karlheinz than before. Lexikon-Sonate is an interactive realtime composition environment for musical composition and live performances. It takes advantage of composition algorithms that has been developed by Karlheinz Essl since 1985. With this algorithmic music generator on can easily create fascinating and complex musical structures on the fly. Furthermore, Lexikon-Sonate is an infinite music installation that can run on a computer for years without repeating itself. Finally, Lexikon-Sonate can be used as an instrument for live performance of electronic music. ref http://www.essl.at/works/Lexikon-Sonate.html vs. 3.3 - MacOS X 10.4 - 10.6 released: 22 Dec 2009 (Freeware) Lexikon-Sonate is a work-in-progress which was started in 1992. Instead of being a composition in which the structure is fixed by notation, it manifests itself as a computer program that composes the piece - or, more precisely: an excerpt of a virtually endless piano piece - in real time. Lexikon-Sonate lacks two characteristics of a traditional piano piece: there is no pre-composed text to be interpreted, and there is no need for a pianist or an interpreter. Instead, the instructions for playing the piano - the indication "which key should be pressed how quickly and held down for how long" - are directly generated by a computer program and transmitted immediately to a player piano (or the built-in Quicktime synthesizer) which executes them. Navigation map of the electronic Lexikon-Roman copy; 1992-98 by Libraries of the Mind The title Lexikon-Sonate refers to the "Lexikon-Roman", written in 1968-70 by the Austrian-Slovakian author Andreas Okopenko. This novel appears to be one of the very first literary HyperTexts, independently of Ted Nelson who introduced this term about the same time. This novel - "a sentimental journey to a meeting of exporters in Druden" (subtitle) - consists of several hundred small chapters which were brought into alphabetical order. By reference arrows as in a lexicon the reader could make her own investigations through the multiple nested web structure of the text. Instead of presenting a sequential text with a predefined direction of reading, Okopenko provides a structure of possibilities, which challenges the reader to become a creator of her own version of this novel. Originally, Lexikon-Sonate was conceived as a musical commentary to an electronic implementation of Okopenko's "Lexikon-Roman", carried out by the interdisciplinary group "Libraries of the Mind". But soon afterwards it started its own life due to its manifold ramifications, becoming an outstanding example in the domain of algorithmic composition. ref The audio contains a demo, some reverb has been applied... enjoy! backup at archive.org | 12/22/09 | Free | View In iTunes |
|
4 |
Perspectives of Music Production with John Corbett, 5 March 2009 | Perspectives of Music Production - Podcast - 1h 33'46'' Day: Thursday, March 5 Location: Cinema - Kino Time: 12:00 (12 AM, Noon) Seminar: Perspectives of Music Production Curated by John Corbett (Chicago) Johan Berthling (Hauml;pna [SWE] www.hapna.com), Stephane Berland (Ayler Records [SWE/FRA] www.ayler.com), Jocke Nordwall (iDEAL Recordings [SWE] www.idealrecordings.com), Marek Winiarski (NotTwo records [POL] www.nottwo.com) Recording from the Perspectives 2009 festival in Vauml;steraring;s (I'm a co-producer of) | 3/15/09 | Free | View In iTunes |
|
5 |
Archived Audio: Panel Discussion at Weld on Critics, Critique, and Contemporary Art Music, 28 aug 2008 (in Swedish) | http://www.weld.se http://www.nutidamusik.se Audiocast: Discussion is held in Swedish. Erik Wallrup, redaktouml;r, musikforskare och fouml;rfattare, inleder kvauml;llen med egna reflektioner kring musikkritiken i media. Dauml;refter fouml;ljer ett panelsamtal med Thomas Anderberg, filosof och musikkritiker i DN, Sophie Allgaring;rdh, redaktouml;r fouml;r Paletten och konstkritiker i SvD, Camilla Lundberg, musikchef i Svt. Samtalsledare auml;r Andreas Engstrouml;m, redaktouml;r fouml;r Nutida Musik. I samband med kvauml;llen releasar Nutida Musik sitt nya temanummer om musikkritik. Nothing new: Musical criticism (of contemporary art music) has become more specialized and has found itself to be almost gone from major news papers as Svenska Dagbladet (SVD) or Dagens Nyheter (DN). The development in europe as in i.e. Guardian and Times has ended up in even shorter articles (read: notices), placed inside the news section. Le Monde doesn't write about it at all. American news papers face the same development, and things are though getting worse. Instead, criticism in the papers is replaced by short announcements and no in-depth formulations at its best. The critical articles have to be found in specialized art-music magazines which in addition often serves as polemical greenhouses keeping new seeds for the scene to debate, identify and self-reconnect with. Well, as we can hear most of the people in the panel are in some way worried with this dilution of "quality" and "degeneration" in the musical criticism today... Erik Wallrup proposes that the material produced in blogs can not measure itself to the demands in printed matter. I guess he has a strong point in this, but at the same time this attitude also lacks some flexibility and still maintains old-style hierarchy, which he still in some sense tries to criticize. Wallrup concludes with the solutions that publishers might impose some slight appealing future in music criticism (book form), newspapers not, as well as academic research since the last two has to do more with economic dependency than something else. Thomas Anderberg: "the critic has other tasks than mirror his own interests in the music world" Chief Paletten editor Sophie Allgaring;rdh asks softly middle in the discussion "so what is this with art music, does it demand to be educated in a musical academy, compared to sound art?" Camilla Lundberg (head of music section at SVT) however answers this issue indirectly in stating that art music takes time to digest opposed to other areas in fine arts (so one might get the impression that something is though better than something else). Was there something lost in the discussion, when bloggers nowadays call newspapers for "gammel-media / oldie-media" and in fact the discussion was in some form held between middle aged people that stand on the other side (3rd person perspective, and non users) of the web 2.0.? Writing about music in i.e. Web 2.0 environments (blogs/forums/comments) could impose that even though the sharpness and length of such "after sought criticism" would indeed boil down to a shorter and "freestyle forum" character, it could though make it possible to generate a fair game since art of course do have the potential of parallel interpretation and would even improve without the well established critics that in this case need to stand up harder in the wind of public reflection. The critics' opinion might serve well, however with some interaction it would be even better. ----------------------------------------------------------------------------------- Controversial artists have often been brought to a resistant public by prominent critics. Clement Greenberg did it for Jackson Pollock. John Ruskin did it for Turner. But are there now critics of sufficient authority to perform this role? guardian.co.uk staff , ref Can we rely on the bloggers to bring vital if alienating art to a wide audience? The conviction that edu... | 11/9/08 | Free | View In iTunes |
|
6 |
Artist talk at Fringe #0004, April 10 2008 / Interactive Institute, Kista, Stockholm | Fringe aims to strengthen the local scene for new media practitioners in Stockholm. By new media practitioners we mean people who are using technology (computers, analog and digital electronics, physical computing, etc) as a material to produce some sort of works (art, design, architecture, music, visuals, etc). We are not talking about ldquo;new mediardquo; in the sense of cross-media advertising productions or stuff like that. I did a 30 minute talk at Fringe 0004 at the Interactive Institute 10 April 2008 showing some of my installations and cross-linking to the archetype of the hanging man tarot card no. 12. Presented works were: Party for the Rabbit Peak Performance Best in Show Vegetation Series nbsp;"..but theres is also this Gothicness into it as well. As the Church.. The little house and the gallery as the little Stuga with the little lights.. " Alberto Frigo audio backup at archive.org | 5/27/08 | Free | View In iTunes |
| 7 | VideoCoverage Who Makes And Owns Your Work Event 17/12 2007 Video and Audio Documents | The Public Consultation Event Panel Debate From Left: Jaime Stapleton, Rasmus Fleischer, Marianne Levin, and Mats Lindberg Who owns the rights to artistic work in todayrsquo;s information-based economy? How can one as an artist or producer of culture position oneself in relation to the existing regimes of copyright and the distribution of material and non-material products? The project Who Makes and Owns Your Work has grown out of a year-long discussion held during the Open Content meetings which centred on ownership, distribution and forms of sharing within contemporary cultural and knowledge production. Through monthly meetings hosted by different organisations and a dedicated Wiki site (whomakesandownsyourwork.org), the project has evolved to test conceptual and political implications of openness foregrounding specific proposals made by a loose network of artists and other cultural producers. The project was initiated in the autumn of 2006 by Maria Lind and Robert Stasinski, Iaspis together with London based artist Marysia Lewandowska currently a professor at Konstfack University College of Arts, Crafts and Design and Stockholm based artists Goldin+Senneby. Funded by: Iaspis, Konstnauml;rsnauml;mnden, Konstfack and ABF Also support by: Piratpartiet http://www.whomakesandownsyourwork.org The Event took place in Aring;rsta Folkets Hus and Cinema Nov 17 2007 Coverage: Video from: Public Consultation Event. Discussion on the current copyright debate. Moderators: Dr. Jaime Stapleton, Associate Research Fellow of the School of Law, Birkbeck College, University of London, and Anna Eineborg, artist, Stockholm. Participants: Marianne Levin, professor of intellectual law, Stockholm University, Rasmus Fleischer, Ph.D. student at Souml;dertouml;rn University College, Mats Lindberg, director, BUS (Visual Arts Copyright Society in Sweden). In Aring;rsta Folkets Husrsquo; theatre. ***** Part 1. **** introduction with Karl Rossmann 17 min 36 sec ***** Part 2. **** Dr. Jaime Stapleton Lectue 48 min 53 sec ***** Part 3. **** Panel Interviews #38; Discussions Part 1 1 hour 33 min 18 sec ***** Part 4. **** Panel Interviews #38; Discussions Part 2 11 min 12 sec archived at archive.org (also with mpeg2 DVD quality releases) Audio from the whole day (almost): Selected tracks: ***** Part 2 **** 02.Opening_Speech_by_Karl_Rossman_2007.mp3 Time: 8 min 30 sec ***** Part 5 **** 05.The_Public_Consultation_Event_-_Marianne_Levin_ Professor_of_Intellectual_Law-_Stockholm_University_ in_dialogue_with_Jaime_Stapleton-_2007.mp3 Time: 24 min 04 sec ***** Part 6 **** 06.The_Public_Consultation_Event_-_Mats_Lindberg_Directors_of_BUS_Sweden _in_dialogue_with_Jaime_Stapleton-_2007.mp3 Time: 22 min 48 sec ***** Part 7 **** 07.The_Public_Consultation_Event_-_Rasmus_Fleischer_in_dialogue_with_Jaime_Stapleton-_2007.mp3 Time: 23 min 28 sec ***** Part 8 **** 08.The_Public_Consultation_Event_Panel_Debate_Discussion-_2007.mp3 Time: 36 min 57 sec ***** Part 9 **** 09.Untitled_Artist_Audio_Version_-_2007.mp3 Time: 7 min 56 sec ***** Part 13 **** 13.Maria_Lind_introduces_Palle_Torsson_and_Rasmus_Fleischers _screening_of_the_movie_Steal_This_Film_Part_2-_2007.mp3 Time: 2 min 58 sec ***** Part 14 **** 14.Palle_Torsson_and_Rasmus_Fleischer_introduces_the_Swedish _premieer_screening_of_the_movie_Steal_This_Film_Part_2-_2007.mp3 Time: 5 min 40 sec ***** Part 15 **** 15.Discussions_after_screening_Steal_this_Film_II_at_ Arsta_Cinema_Theater-_2007.mp3 Time: 14 min 51 sec ***** Part 16 **** 16.excerpt_1_from_Per_Ahlund_and_Mathias_Josefson_ improvisation_live_elecronic_set_at_Arsta_Cinema_Theatre-_2007.mp3 Time: 6 min 05 sec ***** Part 17 **** 17.excerpt_2_from_Per_Ahlund_and_Mathias_Josefson_ improvisation_live_elecronic_set_at_Arsta_Cinema_Theatre-_2007.mp3 Time: 5 min 53 sec all audio archived at archive.org (with 24 bit releases as well and derivates) feel free to edit ... | 5/13/08 | Free | View In iTunes |
|
8 |
Radical Thinking - Broadcast Culture - Coverage 2007/2008 Sessions | This post includes coverage of the 2007/2008 sessions of the Radical Thinking - Broadcast Culture that I recorded and released on archive.org An international lecture series tracing artistsrsquo; involvement with history, politics, and popular culture through the use of film and broadcast media. Each evening includes a film screening and a talk by the artist. Organised by Timeline Konstfacks Videotek, Mejan, KHS Umearing;. A collaboration between Marysia Lewandowska, Hinrich Sachs and Florian Zeyfang. Thanks to Kulturhuset. 2008 Eva Meyer and Eran Schaerf 16-04-08 The internationally renowned artists Eva Meyer and Eran Schaerf have been working collaboratively with video and radio plays since 1997. They investigate localities, language, narratives in order to propose alternative time and space structures for the self and the other(s). She Might Belong to You, 2007, their 37 min. film created for Skulptur Projekte Muuml;nster, will be shown for the first time in a context of an auditorium, followed by a discussion with the artists. Artur Zmijewski 05-03-08 Shown for the first time during the Venice Biennale, 2005 film Repetition by artist Artur Zmijewski (PL) reconstructs the conditions of the Stanford Prison Experiment from 1971 studying behaviour of inmates and guards. In many of the artists' works events of the past are scrutinized again often revealing processes of victimization and social exclusion. Using some of the documentary film tropes Zmijewskiacirc;s works occupy a terrain charged with provocative questions as well as complex emotions. He directly implicates his viewers in the politics of representation. Erik Pauser 20-02-08 Screening of production material from the upcoming "The face of the enemy" Exploring conflict. In the face of representation. Stockholm based artist and filmmaker Erik Pauser has been exploring conflicting representations of history through his long term project dealing with the legacynbsp; of the war in Vietnam. Over five million Vietnamese died in what one side calls the American War and the other side calls the Vietnam War. The installation and film project The Face of the Enemy is constructed out of 200 hours of interviews with Vietnamese war veterans and civilians and tries to unravel the conflict through first hand accounts of the Vietnamese that fought in The American war. His talk centres around screening of excerpts of the work in progress and questions how history is told, edited and explored through the medium of film. 2007 Maciej Drygas 12-12-07 In his first visit to Stockholm, the polish documentary film maker Maciej Drygas known for his commitment to long term research projects, often using archival footage, will present and talk about his film The State of Weightlessness/Stan niewazkosci, 1994, a tender portrait of the cosmonauts and a critical reading of the conditions imposed upon them by the Russian space programme under communism. All his films contain an ethical dimension in both the treatment of found sources and themes which picture a dilemma between individual lives and historical forces. Judith Hopf 21-11-07 The Crossing Occurs at Night The Berlin based artist Judith Hopf will present Hospital Bone Dance (2006) in a Swedish premiere screening. Hopf has produced video works, marked by humour and wit exploring clear political agendas. John Akomfrah 31-10-07 Signs of Empire This is a rare opportunity to hear John Akomfrah introducing the work of the Black Audio Film Collective formed in 1982 in London. The Collective produced some of the most experimental documentaries in Britain in the 80s and 90s. They have profoundly influenced contemporary avant-garde filmmakers and artist. Screening includes Handsworth Songs, 1986, 60min. | 4/29/08 | Free | View In iTunes |
|
9 |
Lapdogs of the Bourgeoisie at Tensta Konsthall - Episode #2/2 | nbsp; a modification of the solution chart given after a questionnaire from the Zolghadr allied Natascha Sadr Haghighia's role play with audience. image from: Konsten att göra sig märkvärdig - En studie av det konstnärliga producentfältet i Sverige i början av 1990-talet och några av förutsättningarna för att där erövra erkännande som konstnär av Barbro Andersson, 2005 Exhibit is over now moving over to some other place, but still I wanted to post this. Workshop or Lecture? it was a lecture with Q#38;A TERMINOLOGY WORKSHOP with Sven Olof Wallenstein - 12 Jan 2008 How has Marxist terminology survived and transmuted over the ages. Wallenstein, theorist and editor of the arts journal site, shall host a discussion on how fundamental terms such as laquo;hegemonyraquo;, laquo;bourgeoisieraquo; and even laquo;classraquo; are now widely up for grabs. Moreover, what is the possible use of the terms in question; can a term as brutal as laquo;false consciousnessraquo; still be helpful? texts for reading before lecture: Karl Heinrich Marx (wikipedia): [A Critique of] the German Ideology 1846 Louis Pierre Althusser (wikipedia): Ideology and Ideological State Apparatuses, January-April 1969 Escaping the void coming back to the collape of the wave function Starting pedagogically from Plato and passing the ball over to Descartes (idea as an external object to the mind) and then some empirical variation from Locke one could feel that the ground was made in a gentle manner to set for Marx and Althusser. However we had though a detour over some aspects on the concept of ldquo;projectrdquo; and what that could impose, in terms of ideology: ldquo;..Ideas are produced when a bodily movement is checked or stopped..rdquo; And of course adding the ldquo;Epistemardquo; with Foucault we all ended up with his notion of subjectivity in avoiding to enter Althusserian void (even if the Foucault's notion of continuation is slight weak). This however might be a proper selection since voids are less progressive at least in terms of philosophy, well... However one can re-interpret and refine the language and surroundings in ways that one could end up in another place, in that way continuing even if the void might have other characters, so to speak. In observing subjectivity as second-person perspective we might though risk to enter the collapse of the wave-function and end up in the easy world. In terms of not observing the subjectivity it might even live more fruitfully on its own and add the continuity as natural properties. Additionally areas ofnbsp; first-person perspective research might though impose some development into the area, as well, even if it will not directly result in philosophy in the end.. I was glad to hear Wallenstein's view on the multitude, which was a completely ldquo;religious conceptrdquo;, lot of fun for me, since I have been involved in some philosophy chat-conferences with some artists that were pretty confusing in terms of belief (chat1.html/chat2.html). **this lecture is audio-casted** Lost Subjectivity: Did the Tensta staff, however, enter the Althusserian Void anyway? One interesting conclusion with Wallenstein's lecture was in how you can avoid to a member of the society (in assuming that you are i.e. saying yes/or reply if a teacher in school asks for your name) is to provide non-information like screaming, providing rubbish etc.. In this way you take away the identification properties (subject) to be what you are, and you cease to be a member of the society. Is this the case as we heard in the interview in 2006 by PS1 radio of the Tensta Kunsthalle Staff posted in the last episode? if you didnt listen to is you can access is here: #62;#62;#62;#62; (PS1 Radio Art Basel Miami Beach 2006: Leopard Cube). Wiring up the Targets Some kind of constructive discussion was probably lost due to the lack of proposals and items to take up for discussion in the ex... | 4/9/08 | Free | View In iTunes |
|
10 |
Normativity in Art - Polarisation between analogies: Dorinel Marc at Mirai Projects | nbsp; As a continuation of the Dorinel mini documentation series this is part 2: Audio documents from Artist Talk with Dorinel Marc about art and religion, in conjunction with his exhibition, at Miraiprojects on Easter Day, Sunday, March 23, 2008 (in Swedish) Recorded at Mirai Projects Gallery, Stockholm, Sweden 23rd March 2008 2.00-5.00 PM Artist Talk with Dorinel Marc about art and religion, in conjunction with his exhibition, at Miraiprojects on Easter Day, Sunday, March 23, 2008, 2 ndash; 4 PM. Vauml;lkommen till ett Artist Talk med Dorinel Marc om konst och religion, i samband med hans utstauml;llning. Samtalet auml;ger rum paring; paring;skdagen den 23 mars 2008 kl. 14-16, paring; Mirai Projects, Sibyllegatan 22, Stockholm Under samtalet kommer besouml;karna att faring; mouml;jlighet att smaka paring; Jesus blod och kouml;tt samt skapa en gemensam maring;lning med konstnauml;rens blod. Audio-cast in Swedish full release at archive.org | 4/4/08 | Free | View In iTunes |
| 11 | VideoReality Hack: Normative anti-Humanism in Media and the Service-to-Self Distortions | nbsp; Rent Hus paring; TV4 Folk / Cleaning Out TV4 (in the Dorinel Documentation mini series) This Reality Hack Edition provides a performance by Dorinel Marc at the recording of the Swedish TV-Show ldquo;Rent Husrdquo; (Clean House) at the Karl Ramberg and Alexandra Kostrubala's apartment in Stockholm. ldquo;Rent Husrdquo; could be considered as a weak copy of the UK-show ldquo;How Clean is Your House?rdquo; but with the more Lutheran massive guilt-approach. Freak-show, victim-TV, Humilitainment,nbsp; etc. all these could be proper alternative names for a show that uses innocent people to throw them out as ldquo;Losersrdquo; (however they are told it will be ldquo;feel-goodrdquo; program). However with the performance of Dorinel the TV4-crew just suddenly wanted to leave, lol... Not only Dorinel is critical to the crew, but also others within the main audience. cheating evidence? stuff that is packed into one of the younger children's room (disabling the child to sleep there as well), is this the way to produce TV?nbsp; Not only provides this TV4 Show a platform to establish a prolonged service-to-self but as well as impose negation into people's free will. We saw same tendencies in the build up of fascism during the 30s, to clean people out, might this be a fascistoid media attempt? Some of the normative aspects what people should do or not will be continued in linking nazis and art in the artist talk by Dorinel at Mirai Projects in the next post. I'm glad I don't own a TV-set! ***full releases at archive.org *** | 4/4/08 | Free | View In iTunes |
|
12 |
CD Release - Music Box Music - Recorded at Tekniska Museet 2007 | Recordings from some discs connected played on a Polyphon Music Box, (made app. 1850) Recorded 6th November 2007 at Tekniska Museet, Stockholm, Sweden With initiative from Ulrika Casselbrant and Randi Berger And great thanks all staff at: http://www.tekniskamuseet.se see also their page for mobile phone signals made from my recordings! http://www.tekniskamuseet.se/templates/Page.aspx?id=22091 some releases from the mp3s of these tracks are also available at the open music archive: http://www.openmusicarchive.org/ a small notice on the mobile phone tracks was shown in the latestnbsp; SJ-magazine Kupeacute; (Feb 2008): Digital CD release March 30 2008 Release formats: Mp3, Aiff 16 bit, Aiff 24 bit, Wav 16bit, Wav 24bit, FLAC 16 bit, Audio CD Disc Image Bin/Cue Enjoy! Full releases at archive.org | 3/31/08 | Free | View In iTunes |
|
13 |
Stockholm New Music 2008 and the paradox of Intellectualist critique | Stockholm New Music festival enters now the memory of 2008. A festival for New Music. Well what does it mean? New Music.. a theme with Tradition in Transition. ..Transition to what?.. The concept and sounds from the ldquo;New Musicrdquo; genre might probably surprise some old people even today, but in terms of its origin one probably have to go back to the nomenclature in the Darmstadt School which produced a bunch of new acoustical attitudes in between 1950-1960s. Not especially much has happened since that time one must say, in terms of compositional overall approaches. Many still hear the faint echo from this time. However the loners out there seems to be circulating like satellites (i.e. Harry Partch, Conlon Nan Carrow). The New music stamp is strangely contained with the phrase: #62;#62;Notated New music based on classical tradition and classical instruments#60;#60;. In some aspects there are some slight tendencies today to even romanticise and go back to some old musical periods that the Darmstadt School originally was trying to move away from. Still in the old days composer outcomes from Darmstadt were not without its criticism. ldquo;..Composers such as Boulez, Stockhausen, and Nono were writing their music in the aftermath of World War II, during which many composers, such as Richard Strauss, had their music politicised by the Third Reich. In order to avoid this happening again, and to keep art for art's sake, the 'Darmstadt School' attempted to create a new, anational style of music to which no false meaning could possibly be attached. Recent biographers of Boulez and Stockhausen in particular have interestingly tried to distance their composers from 'Darmstadt School' music, despite the tenable nature of the composers' original ideologies (Olivier 2005; Kurtz 1992)...rdquo; ref Old Fellow Network Composers are more or less consisting of old bourgeois society fellows network of men from western white class*, is that itself a language on its own, in terms of identity? The correspondence between musical exchange is traditionally attached and fine-culture is taken as a-priori. Also, this tradition also links itself to central Europe more than for instance visual arts which has developed a more Americanised-nomadic approach. Dedications to other composers, French or German titles, links to Christian church idioms or musical institutions are not uncommon tactics. I think we might see a small forthcoming insider change here. One must say that the idea of genius-nerd and loner seems to be deeply connected to the self-image of the composer. The more ldquo;outsiderrdquo; the better, but can it escape the notion for being idiomatic?. *The Society of Swedish Composers consisted, in November 2007, of 33 women members out of total 269 members (12.27%) ref; During 11 Years the Society of Swedish Composers had no women members at all (1959-1970) ref Instrument and Method - Sound Art The physical reality is slow. Music, like dance or other performative arts orients itself with the body into time-space. Adaptation takes time especially if many learning steps are involved. Composers are dependent on interpreters and what they can do since many works today are made in co-operation. Thoughts and concepts might move fast but bodies are stucked like trees in the forest slowly spreading. Even if new-music-composers compose for the same instruments as before (mostly coming from the romantic period) and mostly also for the same concert spaces (with the same audience) one still have to take this with a piece of salt. The rest of humans are not faster, just look at the fossil-fuel cars around you, not much has happened. Now, notation has of course developed into an art itself and can sometimes possess some meaning on its own. We might see a long tradition in following the handcraft of old composers, well the method seems, also here, to be stucked in the composer-interpreter dilemma. In some aspects new-music-composers ten... | 3/14/08 | Free | View In iTunes |
|
14 |
Conveyer at Weld, 9 Feb 2008 node.Stockholm | Void #1 at Conveyer event. Audience in action. I had the privilege to experience the show ldquo;Conveyerrdquo; held at Weld Stockholm (in the node.Stockholm program). Conveyer is a performance spinning off from the project "Ljudingrepp i offentlig miljouml;". During the autumn 2007 a number of sound actions takes place in public places of different functions, such as entrances, corridors and squares. The project is a study on how we move under the influence from sound. What happens when the sound environment is changed? Will our movement and behavior change according to the sound? The studies has been made in the Electrum building in Kista, outdoors in Kista and in Sauml;tra center with choreographers as observers and interpreters. A project by Ann Roseacute;n, Sten-Olof Hellstrouml;m, Ingo Reulecke, Moa Hansson, Maija Hirvanen. The project is a collaboration between ADRA - art driven research association, Interactive Institute and Weld. ref With the playful soundscapes of Ann Roseacute;n and Sten-Olof Hellstrouml;m visitors (with socks) were gradually entering the space. The dance floor became occupied by the audience more or less in a loose manner. Some used chairs some not, some sitting and some standing. In building up the body-space the presence of some spatial awareness developed into an interesting experience. This was became noticeable when Ingo Reulecke managed through some dance semantics* to place the audience on the floor. In this situation, that shifted between a workshop and some sort of community-enlighting event that you suddenly find yourself confronted with, my ears enjoyed the parody-perplexity of a rare surround experience when dancers were speeding around you as you lie down and try to not get hit by a running foot. Yes the setting with the solo dance and the harsh construction-lamp was quite intensive. The form of the public was shifting during the event and this produced a pleasant avant-gardish fluxux type of mood (still this dance floor smell always make me think of experimental forces). The sound from Ann Roseacute;n and Sten-Olof Hellstrouml;m creates some kind of unconscious impact, almost as a dramaturgical light casted upon the actors and the space itself. Ingo Reulecke did a hard job in providing many experimental settings (as for instance standing with some sort of advanced yoga-pose on a loudspeaker). There were two acoustical void moments included in the show as well and both of them had the ability to make you feel happy! *which for me became something metaphysically: ldquo;..And now, find your spot on the floor..rdquo; Performing artist at Conveyer were: Ann Roseacute;n, Sten-Olof Hellstrouml;m (sound, acoustic directions) Ingo Reulecke, Moa Hanssen, Maija Hirvanen, and audience (dance, movement, choreography) Update 1/5 2008: Sound and video clips at Ann Roseacute;n website About Weld: Weld is an independent platform for experimental processes and knowledge production. We gather impulses and ideas; we combine and break them down; we re-think them - while aspiring to define ourselves as something not quite tangible. Making use of critical ideas and free ways of thinking, we aim to share our physical and virtual space with people active within the disciplines of dance/visual arts/theatre/literature/ architecture/music/film and science to discover alternatives, new paths. Our primary focus is on dance and we strive towards the creation of contexts and situations that both deepen and expand the art form. homepage weld | 2/10/08 | Free | View In iTunes |
|
15 |
Lapdogs of the Bourgeoisie at Tensta Konsthall - Episode #1 | Flipping inside out with its inside, multi-layering, transparencies within mirrors and opaqueness outside the leopard-box. Twisting, the meaning upside down, inwards outwards. Artist as context maker inviting another one, acts a curator for a curator-performance and manager for the manager's moderator for the frames upon content shall be produced. Control or dilemma, who seems to take responsibility? Artist are still on the bottom (economically) but supported by their middle class parents.. Praised within context structures that puts endless discussions to the manifest of process-art, objectivity excluded. Who is the public and what do we make out of it? Can good old seacute;ance-pluralism work again as a solution for this? Artifacts versus over-class. Middle class is over-class compared to the rest of the world. Some people rule you anyway. What are we making out of this? we as "globalised" consumers of culture and other luxury. ldquo;Lapdogs of the Bourgeoisierdquo; is an exhibition and research project by the curators Tirdad Zolghadr and Nav Haq that examines the effect issues of class and socioeconomic backgrounds have on contemporary art and the individuals working in the field. The project kicked off with an exhibition at Gasworks in London, continued to Istanbul and will now make an appearance in Tensta, before it travels on to Cairo. It is commonly known that socioeconomic background plays an important part in peoplersquo;s choice of careers. In order to study the art world the project has decided to hold the concept of class up against the contemporary art world. What is the significance of the fact that most people working in the field have similar backgrounds? What effect does a middle-class background have on the prospects an individual has for getting exposure as an artist or employment as a curator at an art institution? Lapdogs of the Bourgeoisie Tensta Konsthall, Stockholm, Sweden January 11 - March 30, 2008 The audio is from: WE ARE LIKE THAT ANYWAY A light-hearted conversation drawing on Marion von Osten's project I Am Like That Anyway, with in-house Tensta Konsthall curator Rodrigo Mallea Lira, guest curators Haq and Zolghadr, and others. Recorded at Tensta Konsthall, Stockholm, Sweden 12 January 2008 15.00-16.30 It can be interesting to relate to, now when three of the main staff (Rodrigo Mallea Lira, Ylva Ogland and Jelena Rundqvist) are leaving Tensta Konsthall (but not because of the exhibit). "Fraring;gan om arvodet har lett till en laring;sning mellan Konst2 och styrelsen dauml;r den enda mouml;jliga fortsauml;ttningen fouml;r oss var att sauml;ga upp oss" ref A typical lorentz-attraction phenomena of some pair constellations with curator performance and artist performance (Tirdad Zolghadr and Nav Haq vs. Annika Eriksson inviting Kjartan Slettermark) Creds for some of the rare occasions in a lifetime to actually see the poodle costume in action, but how did it escape from Moderna Museacute;et?. Another layer of the show was added when San Keller entered the stage coupling the Kjartan-attraction. The program of the activities 11-13 Jan 2008 is available here (archived) I just wonder why Apple Sweden didn't release its 10.5 version in this space? An interview with Rodrigo Mallea Lira can also be be found here (Art Basel Miami Beach 2006: Leopard Cube) Ina Wood at Lauml;sarnas Fria Tidning writes about the show: 1) Marginaliseringen av konstnauml;rer fraring;n "fel" klass/etnicitet/religiouml;s bakgrund nauml;mndes inte. 2) Ingen paring;talade konstnauml;rens, eller kulturproducenten som de valde att kalla det, ansvar att verka mot klassfouml;rtryck inom det egna fauml;ltet. 3) Och sist men inte minst tycktes det vara extremt faring;, om ens naring;gra, tenstabor dauml;r. Vad betyder "Tensta" i "Tensta Konsthall"? De tvaring; garing;nger som Tensta nauml;mndes var dels i en diskussion om en barock kyrkoutbyggnad som gjorts i Sparing;nga-Tensta under 1600-tale... | 1/21/08 | Free | View In iTunes |
|
16 |
Episode #3 of Archived Audio Documents: Studies of a Prepared Piano #2, Salsbro (1995) | In 1995 I was spending a half year lonely on the countryside. A left over house from my grandma with lots of the original 40's furniture, and a piano out of tune.Heavily inspired by Stockhausen, Zen, John Cage, Morton Feldman and Jazz, I studied the timbre and spatial-ness of the sounds from this old piano. All recorded by improper lo-fi equipment to an old reel Tandberg (with valves) and a dynamic microphone made for signing. Some strings in the piano were also prepared. a summer day, Salsbro, 1995. photo: Tomas Nygren At this house we spent many summer holidays, maybe the best summer experiences in my childhood. This is the second episode of the total 3 tracks recorded from these sessions. my brother Stefan Nygren standing inside one of the closest hay barns (1993) photo: Tomas Nygren audio backup at archive.org | 1/12/08 | Free | View In iTunes |
|
17 |
Happy New Year at Skansen! (Live or TV?) | Fira nyaring;rsafton paring; Skansen! Saring;ng, musik och Tennysons dikt Nyaring;rsklockorna vid tolvslaget med Jan Malmsjouml;. Saring;ngerskorna Sonja Aldeacute;n och Gunilla Backman medverkar liksom instrumentalisterna Bjouml;rn J:son Lindh och Janne Schaffer, Ola Stinnerbom, dans och jojk, Tuva Stinnerbom, dans, Beatrice Omma, trummor och jojk samt Nyaring;rskouml;ren under ledning av Gustaf Sjouml;kvist. Programvauml;rd auml;r Agneta Bolme Bouml;rjefors. Programmet avslutas med ett festligt fyrverkeri till musik av Magnus Stinnerbom. Programmet direktsauml;nds i SVT. Programmet startar 23.20 och slutar 00.05. Kom i god tid! ref Starting at 11.30 p.m. and ending 12.05 p.m. (45 min!) Is it really worth the money? 70 royal svea-kronas for the mass media official Live-New Year celebration at Skansen.. I found it great, theh! In a dark (but quite loud) and slight rainy evening, with the addition of some 3000 cheerful people with fireworks (and lead by wonderful torches through the passage towards the stage) I recorded some audio snippets from the ritual. * the TV-production suck out the live feeling * ..did Jan Malmsjouml; really sound drunk when reading the poem "Nyaring;rsklockan" by lord Alfred Tennyson (1809ndash;1892), nah? ..However I was.. * this easy version of jojk (of this kind) sounds similar to some indian music (often played at Sergels square) * happy New Year to all! Audio excerpts from: surroundings Jan Malmsjouml; is reading the poem a bell is ringing 12 ding dong Fireworks.. We are singing! 3 high quality interviews audio backup at archive.org (and 64kbs version if the download is slow here) | 1/1/08 | Free | View In iTunes |
|
18 |
Contemplation - an Energizing Journey (2007) Preparing you as an artist for 2008 | ldquo;There are two possible functions of logic, one cerebral or mechanical, the other vital. The mechanical or syllogistic logic of quantity results from a comparison of concrete or definite elements. Vital logic is the logic of genesis or generation of a material form: it is the crystallization by time of the abstract Cause into spatial concrete form. The method of mechanical or cerebral logic is analytical. Vital logic requires the faculty of synthesis as spatial vision.rdquo; R.A. Schwaller de Lubicz, Esoterism and Symbol, 1960/1985 After experiencing a fruitful and long lasting period of third/second-person perspectives (social criticism) in the setting of the contemporary art landscape in Stockholm we now might see some development into the interior and first-person perspectives. The use of this perspective can most notably be used for the lack of other similar spiritual and religious institutions where we can develop as artists and beings. Many art institutions have taken the responsibility to develop this spiritual caring and to offer similar religious services as the old churches did many years ago, however to a smaller audience. This audio prepares you for the next outspoken waves (2008-2009) of first-person perspectives tendencies within the contemporary art scene in Stockholm. You will re-program yourself to be more open to self reflection and why it is so. After each program of listening you will, in addition, feel energized thanks to the established effects of bin-aural-beat-technology and neuro-linguistic methods used in this release. This release is an IASPIS edition with audio material taken from an IASPIS-seance in Dec 2007. You will hear famous linguistic expressions and formulations that will be very useful as mantras and to maintain the contemporary and contemplative insights for the next year. Musical Category: Ambient, Meditation, Concentration, Relaxation, NLP, Electronic, Art Programming, Art Agendas. ******* Part 1. ******* 27 min 05 sec Releases: 192kbs mp3 version audio backup at archive.org | 12/20/07 | Free | View In iTunes |
|
19 |
Radical Thinking Series with the playful Judith Hopf, 21 Nov 2007 | Judith Hopf / Deborah Schamon, Hospital Bone Dance, 2006, film still. Photo: Achim Hatziusnbsp; Audio documents from discussion with Judith Hopf in dialogue with Hinrich Sachs after screening some of her video works. Recorded at Kulturhuset, Studio 3, Stockholm, Sweden within the Radical Thinking Series Wednesday Nov 21 october 2007 18.00-21.00 backup at archive.org | 11/26/07 | Free | View In iTunes |
|
20 |
Gesamtkunstwerk: Who Makes and Owns Your Work launching at Årsta, Sat 17th November | The project "Who Makes and Owns Your Work" is finally making itself visible for the "public" at Aring;rsta - Folkets Hus, Stockholm, on Saturday 17th November. (Schedule is here) Among many artists initiatives within this umbrella project most notably is the participation of Piratbyraring;n, which has already created some evolving discussion. Piratbyraring;n is an organisation promoting a more loose non-profit attitude for distribution of information. However already in print we had to make a small adjustment in providing the folder with a round sticker over the Piratbyraring;nrsquo;s logo. As lawyer from Konstnauml;rsnauml;mnden speaks (swe) in a letter to the project manager at IASPIS: "..Det auml;r viktigt att fouml;rstaring; att de rdquo;raring;dande uppfattningar om upphovsrauml;ttrdquo; som Piratbyraring;n verkar emot, inte auml;r allmauml;nna aring;sikter utan gauml;llande svensk lag. Upphovsrauml;ttslagen ger varken enskilda eller organisationer rauml;tt att kopiera material paring; det sauml;tt som fouml;respraring;kas utav Piratbyraring;n. Kopiering i strid med upphovsrauml;tten auml;r straffbart. rdquo;Upphovsrauml;ttsindustrins lobbygrupperrdquo;, som Piratbyraring;n refererar till kan sauml;kert paring; olika sauml;tt, i den maring;n de existerar, ifraring;gasauml;ttas. Viktigt att komma iharing;g i sammanhanget auml;r dock att rdquo;upphovsrauml;ttsindustrinrdquo; fouml;ljer gauml;llande lagstiftning..." "..Att arrangera en paneldebatt i vilken fouml;retrauml;dare fouml;r Piratbyraring;n deltar tillsammans med fouml;retrauml;dare fouml;r BUS och en professor i immaterialrauml;tt auml;r att laring;ta flera aring;sikter och uppfattningar komma till tals. Detta auml;r bra och helt fouml;renligt med myndighetens verksamhet..." "..Att laring;ta Piratbyraring;n staring; som ensam arrangouml;r fouml;r visning av en opinionsbildande film om ett tillslag mot ett fouml;retag som begaring;r upphovsrauml;ttsintraring;ng auml;r inte fouml;renligt med regeringens krav paring; myndigheter att inte driva opinion. En houml;gst fouml;rsvaring;rande omstauml;ndighet auml;r naturligtvis att filmen kritiserar polisiauml;ra ingripanden mot lagouml;vertrauml;dare. Fouml;r att Konstnauml;rsnauml;mnden ska kunna medverka till att denna film visas krauml;vs en kraftig fouml;rauml;ndring utav programpunktens utformning. Till exempel kan filmen fouml;rhandsvisas fouml;r Henrik Ponteacute;n som kan faring; i uppdrag att ge en introduktion till filmen i vilken han redogouml;r fouml;r bakgrunden och hauml;ndelsefouml;rloppet. Filmen bouml;r auml;ven aring;tfouml;ljas av en paneldiskussion med en moderator ndash; som naturligtvis maring;ste vara antingen neutral i fraring;gan, eller upphovsrauml;ttsfouml;respraring;kare ndash; dauml;r upphovsrauml;ttsfouml;respraring;kare bouml;r vara i majoritet bland paneldeltagare..." "..Att ta emot sponsring utav Piratbyraring;n, och laring;ta organisationens logotyp staring; sida vid sida med Konstnauml;rsnauml;mnden och Konstfack, auml;r att legitimera Piratbyraring;n paring; ett sauml;tt som auml;r ofouml;renligt med Konstnauml;rsnauml;mndens uppdrag som verkstauml;llare av regeringens politik..." Ia Modin handlauml;ggare / jurist konstnarsnamnden.se For more on this issue read some personal comments from Rasmus Fleischerrsquo;s blog Copyriot, entertaining reading for some, maybe harsh to Ia, though. Check this page at artliberated.org as well (that got inspired from my eastern egg interpretation) This eastern egg trick is very easy to do! click on the image! Irsquo;m documenting the event as well as making interviews the week after and making an edited ldquo;artist-documentrdquo; after the event as well. Audio cast (in Swedish) for this entry is the latest planning meeting before the event at Aring;rsta Cafeacute;. Tuesday 13th Nov (Which discusses among other things the issues with Piratbyraring;nrsquo;s participation and the directives from Ia Modin (Konstnauml;rsnauml;... | 11/13/07 | Free | View In iTunes |
|
21 |
Audio documents from dialogue between John Akomfrah and Florian Zeyfang at Kulturhuset, 31th Oct 2007 | An international lecture series tracing artists' involvement with history, politics, and popular culture through the use of film and broadcast media. each evening includes a film screening and a talk by the artist. Signs of Empire This is a rare opportunity to hear John Akomfrah introducing the work of the Black Audio Film Collective formed in 1982 in London. The Collective produced some of the most experimental documentaries in Britain in the 80s and 90s. They have profoundly influenced contemporary avant-garde filmmakers and artist. Screening includes Handsworth Songs, 1986, 60min. Organised by Kulturhuset, Timeline Konstfacks Videotek, Mejan and KHS Umearing;. A collaboration between Marysia Lewandowska, Hinrich Sachs and Florian Zeyfang. --------- This town, is coming like a ghost town Why must the youth fight against themselves? Government leaving the youth on the shelf This place, is coming like a ghost town No job to be found in this country Can't go on no more The people getting angry In this discussion with John Akomfrah (followed after the screening of the hard to find Handsworth Songs, 1986) there were some interesting similarities in how the ldquo;terroristsrdquo; (the importance of finding someone to blame) are looked upon and treated today. Even though Akomfrah did not mention the implications of the internet based "make your own broadcast"-culture today and its implications one had a nice sessions about the narrative and the problems of making a progressive documentary on suppressed citizens and their paradoxical conditions. The Black Audio Film Collective was formed in Hackney, London in 1982 by John Akomfrah, Reece Auguiste, Edward George, Lina Gopaul, Avril Johnson, David Lawson and Trevor Mathison. It was one among many such collectives founded in Britain during the early- to mid- 1980s - including Sankofa, Ceddo and ReTake. This period was characterised on the one hand by the founding of Channel Four and the ACCT Workshop Declaration (both 1982), which encouraged innovative independent work, and on the other hand by the increasingly free market ideology of Thatcherism. The Collective was at the forefront of debates about the politics of representation: their work argues that '"their racial identities grow out of their social and political histories; they call for a recognition that these racial differences are multiple and complex... they interrogate their own images to confirm their histories" (Jackson and Rasenberger, p. 24). ref #160; Audio backup at archive.org Caution: be aware of a 20 sec naughty mobile sound 3 min into the discussion | 11/1/07 | Free | View In iTunes |
|
22 |
Audio document from panel discussion at Elverket 15 October 2007 Stockholm (Volt series) | An old classic and a newer one: Anton Chekhov and Kira Muratova Russian Drama seen from the Swedish perspective? This discussion contains some views on the Russian Theater spectrum. There were however only Swedish native credible persons in the panel. The view could have been more broader with some Russian participants as well? The event was really nice and the reading of the translated letter (by Lars Kleberg) in Swedish between Vsevolod Meyerhold and Anton Chekhov (18.4 1901). Kleberg did a good job in balancing the event as well. Lena Jonson provided the best encyclopedic overview. Though, not mentioning any women, as audience noticed, but still classical and strong influential women shine with their absence in Russian theater, even if Галина Волчек (Galina Volchek) is considered very inspiring for the young scene and Kira Muratova's movies are considered as a must-see. Anna Allgulin spoke about the master in all its philo-historical aspects and preserved her personal mood which made sense after Jonson's more scientific approach. Allgulin spoke about the interesting balance-tool in Russian theater crafts between the ldquo;Verticalsrdquo; and ldquo;Horizontalsrdquo; meaning: Meta-Physics and Realism. Jan Hietala launched a poetical and entertaining text. Must fun was of course their personal stories in how Hietala and Allgulin could manage to educate themselves in Russia at this time, which says a lot in itself in how the scene in Russian drama might differ from Swedish circumstances. Some of the discussions were of course the issues about gender balance, but still an issue for many countries in the post-industrial age not just concerning Russia, and as Allgulin noted many Swedish theater educations still are even more conservative in their approach on what a woman can do. But what happended to the Verticals I wonder? Here is an interesting book about Антон Чехо This audio-cast is in Swedish! Lena Jonson: En ouml;verblick ouml;ver den ryska teatern. Anna Allgulin: "Vem auml;r Mauml;staren?" Jan Hietala: "Ulitsa Gorkogo - inuti ett hus vid Gorkijgatan" Moderator Lars Kleberg: Programansvariga VOLT Elverket: Helena Seth #38; Ulrika Holmgaard. btw. the Sea-Gull by Anton Chekhov in English can be read here audio backup at archive.org (and 64kbs version if the download is slow here) | 10/26/07 | Free | View In iTunes |
|
23 |
Öran Sessions - Klagomuren - digital EP release Oct 11 2007 | Ouml;ran Sessions - Klagomuren (2007) by Tomas Nygren digital EP release Oct 11 2007 Ouml;ran is a small lake in the forest areas located north-west from Vauml;sterhaninge, Stockholm, Sweden. Klagomuren is a region west from this lake. "Klagomuren" can be translated as the "Wailing Wall" or the "department for complaints" Klagomuren was performed in its whole at Vauml;sterhaninge 3 Sept 2007 Musical Category: Grain, Noise, Experimental, Glitch, Electronic _________________________________________________________________________ ******* Part 1. ******* 13 min 39 sec Releases: 16bit 44Khz aiff version 256kbs mp3 version _________________________________________________________________________ Full release at archive.org | 10/11/07 | Free | View In iTunes |
|
24 |
Pixelvärk Seminar 5 Oct 2007 | "Triangle in Front of Square in Front of Circle in Front of Triangle" (1974) by Daniel J. Sandin kicks off the seminar (Audio Version on Bottom on this entry!). Did the graphical layout from this imagery and its mood describe and impose as an example for the focus on surface and effects that sadly forms the basis most of the ubiquity in VJ-Culture today? This audio report contains snippets from Francesca Bria, Bertrand Gondouin and the discussion. Francesca Bria is an independent journalist based in Rome. She will talk about independent media culture in Italy and will mainly focus on video activism but also on peer production, hacking culture, independent TV and media. Francesca Bria presented some social-media-activist projects (Reality Hacking/Social Hacking), involving interference/alternatives to the monopolist public broadcasting agendas, which were highly interesting and I recommend you to listen to it! Bertrand Gondouin is a Parisian digital artist at the moment resident in Stockholm. His works combine software development and live improvisation with sound and image. He has performed at galleries, theatres and clubs throughout Europe. Since he works with his own software it allows him to invent his own tools such as different visual synthesizers and physical interfaces and to develop own methods and aesthetics.hacking. web site Gondouin presented a variety of exiting projects. Most notably was his notion in a dance perfomance setup that the interaction with the dancer made all the effort to use advanced motion-tracking methods less successful compared to using an ordinary midi-control device, since using the midi-contoller maintained the direct contact between the performers. One of the several setups from the Gondouin projects (this is the Grains #38; Pixels using AI as extra parameters of the performance) Bertrand Gondouin's presentation and the discussion is not podcasted through RSS/iTunes but can be reached here on the blog or at archive.org audio backup at archive.org (and 64kbs versions if the download is too slow) | 10/7/07 | Free | View In iTunes |
|
25 |
Placing Art In The Public Realm. Symposium 28 Sept 2007 at Konstfack | The Subconscious Art of Graffiti Removal - 2001 by film maker Matt McCromick Banksy and a nice Mona Lisa interpretation In the need of making the art institutions as advanced as other established institutions one have to conduct some relevant research.* The Symphosium ldquo;Placing Art In The Public Realmrdquo; can be seen as an initiative-family to take us to the next step into this realm. info pdf about the symposium here the day two of the symposium 28/9 launched: Katya Sander is an artist and writer, lives and works in Copenhagen and Berlin. In her work, she questions issues of space, narration, desire and order through film, text, architecture, constructions and interventions. Sander presented a long lecure. maybe too long.. ..a dilemma that is common but not so often is prevented. Focusing on the media and the male publicity of the "I" she presented some interesting topics in how media controlled structures and pre-set rules around this apparatus shape our way to think about the public and the ldquo;outer worldrdquo;. Jacob Kimvall (art critic and graffiti artist) had a personalized perspective on his presentation which worked pretty well I must say. Mainly maybe due to the limited access most people have to the the graffiti scene and the importance of credibility of the sender. Kimvall defended, in his well put together presentation, the value-clash between street art and graffiti which has also some grounds in the iconoclastic attitudes and the use of images or texts as effective carriers of the intended message. Where the metaphor-image-driven messages make street art sweet and belonging to the public, graffiti is made to stand against in using a stylistic-textual identifying message from the sender. I felt that the common notion that graffiti's more pop-design in comparison to street arts' conceptual and self-reflective intentions was not directly disputed. A more psychological trans-rational approach would maybe be more fruitful to understand the spectrum of graffiti and how it interacts with the public. Some graffiti as an outcome of mostly young people might even have bio-social reasons for its purpose i.e. marking your territory with tags. Eventually these men grow up from this tribal-structure and transcend into the artistic domain were we can distill the artistic ideas originated from styles, identity, revolt and territory. However.. ldquo;Graffiti is most comfortable and appropriate slapped where it shouldn't berdquo; as Prime puts it.. The counter movement: graffiti-removers often target eyes with their white paint. Within his talk he showed a cool movie about the aesthetically interesting dilemmas in the non-aware artistic production of graffiti removal by film maker Matt McCromick. One can read his C/Candidate-thesis on ldquo;Skadegouml;relse klotter nedskrauml;pning fouml;rbjuden: Graffitiborttagning som ikonoklasmrdquo; here (SWE) Another nice text about Graffiti: Varfouml;r riskera fauml;ngelse fouml;r ett brott som inte louml;nar sig? by Andreas Thors get it here Jennifer Gonzaacute;l*z is Associate Professor of History of Art and Visual Culture at the University of California, Santa Cruz. Her writings have appeared in Frieze, Diacritics, Inscriptions, Art Journal, and Bomb. Her essays on race and digital culture have appeared in The Cyborg Handbook and Race in Cyberspace. Shuddhabrata Sengupta from Raqs Media Collective. Based in Delhi, their work engages with urban spaces and global circuits, persistently welding a sharp, edgily contemporary sense of what it means to lay claim to the world from the streets of Delhi. Nina Mouml;ntmann, is a curator and writer. Her recent projects focus on the changing conditions of art institutions, models of relationality in art and institutional practice, the role of communities as social entities of the public sphere, and artist collectives in the Southern Hemisphere. She has been curator at the Nordic Institute for Contempora... | 9/30/07 | Free | View In iTunes |
|
26 |
Tris Vonna-Michell at Milliken, 27 Sept 2007 | Might this picture be in his next story? but its in colour!!!! How many words per second can this guy really do? The-MC-of-hidden-meanings-stream-of-consciousness-poetry-talking-man with that peculiar child cap enters the scene at Milliken. A wartime conspiracy episode about mysterious disappearances in the tunnels beneath Berlin's Anhalter Bahnhof and the story can begin! Enjoyable indeed, but who understood all words after a glass of whine? The middle act two of the three acts is podcasted. A interesting text in Swedish that mentions Tris can be found here. Its called ldquo;Interaktionens pris: Mot en ny konstkritikrdquo; by Erik Berg, published Feb 2007 He writes for example (SWE): ldquo;Nauml;r Down in the rabbit hole recenseras behandlas det som en sensation. I recensioner av Down in the rabbit hole finns en sorts reservation: nauml;mligen att detta auml;r ett undantag fraring;n den utgaring;ngspunkt varifraring;n recensionen skrivs. Detta trots att performance, relationell estetik och interaktiva verk inte auml;r nya konstarter, och flera av dagens verksamma kritiker har varit med under dess framvauml;xt.rdquo; some pictures here from the Witte de With sessions audio backup at archive.org | 9/30/07 | Free | View In iTunes |
|
27 |
Ronald Jones at Pecha Kucha Stockholm 24 Sept 2007 | Pecha Kucha is of course the one and only self-promo edutainment type exercise-event with 20 slides and 20 sec on each with different speakers. The topics are mostly about design, art and architecture. I must say that the form works and I would recommend it to other aeras, as educational institutions, as well as for teachers or students! Listen to the introduction by Mark Dytham at the bottom of this blog entry! notice his notion on the anti-social networks on the internet heh pretty on target actually. Pecha Kucha 20:20 at the fancy multi monitor equipped Berns Lounge was a nice and entertaining evening, although one has to be careful to understand the ldquo;thought structurerdquo; of the event with slipping into the notion of sustainability (a double edged sword used by architects in packaging purposes?). One could hopefully imagine that this word meant something serious! Sustainability does have the same feeling as ldquo;creativityrdquo; in B2B situations. Will the ldquo;Creative Classrdquo; deliver their promises? ...then, face book hype, beer break, saving the planet (does this impose some irony?), give your next a hug, consume less with more consumption, and still there is some sort of hope for the Africans.. ..maybe the Achievist-Communitarian flavours kicks in.. its paradoxical that sustainable energy is not considered as this.. The disaster expert Mr Ronald Jones (artist and critic) launched a well tempered 6'40'' presentation marketing an ethical choice dilemma, not a product.. (podcasted!). The topic is about crossing the moral bridge in design. David Oppenheim's design of the atom bomb and the modifications in the architecture of Auschwitz are used as examples of this crossing and ethical choices of the designers in this period. The event was nice and positive actually! and maybe one need to de-saturate the ldquo;importance of moneyrdquo; in the future since it was made in some of the the talks, it doesn't make the design better, maybe more "plastic". Anyhow, if you want to learn how to make a fast self presentation/talk in 6 minutes and feel chilled out at the same time go to Pecha Kucha! Pecha Kucha might be considered as the shortened club-version of TED talks (i.e. Steven Pinker on the History on Violence) and then only design etc. topics.. I enjoyed however the creative-outputs-on-another-KitKat-flavour at the end of Mark Dytham'snbsp; presentation. audio backup (and also a lower 64kbs version if audio here is slow downloading) at archive.org and here | 9/24/07 | Free | View In iTunes |
|
28 |
IDEA magazine at Index foundation 22 Sept 2007 | A conversation on the motives for publishing between the editors of magazine IDEA arts #38; society: Andrei State, Alex Cistelecan, Alexandru Polgar and Attila S. Tordai and Robert Stasinski, project manager IASPIS and Index board member The recording presents an overview of the ideological and the driving forces behind IDEA magazine and the surroundings in how the thematics work. Notice the criticism in the audience about how the production of art with pre-set tendencies are "damaging", a clear dialectics between the universalists (object oriented) and the social criticism (process oriented) camps in contemporary art today. This is the presentation of the Magazine from their webpage: "Allegiance to the exigency of genuine theory ndash; a theory which is, first of all, its own practice ndash; this is the program of IDEA arts+society magazine. This means: the practice of the concerned eye, which can be rigorous solely through the unconditional solidarity with the concrete. It is a practice of thinking which is alien to any aestheticism, hostile to any institutionalized transcendence, immune to the biased fiction of ideological neutrality, and remote from the pernicious language of our contemporary culture of lsquo;experts.rsquo; In brief, it is the practice of critical and defiant reflection, dramatically lacking in the intellectual-civic debates of present-day Romania. www.idea.ro " this event was made possible with collaboration and support from the Romanian Cultural Institute in Stockholm and the exhibition: "IDEA ndash; the practice of reflection" audio backup (and also a lower 64kbs version if audio here is slow downloading) at archive.org | 9/24/07 | Free | View In iTunes |
|
29 |
Audio report from Norbergfestival, Sat. 28 July 2007 | This report is a collection of snippets from recordings I made at the festival. Contains extracts from (in order): Nya Perspektiv showcase - Thomas Gunillasson guitar and electronics + Me (as VJ BabyFace, see video in this blog) - Sekvens - Kaburu - Doglife Fylkingen Showcase - Johan Boberg - Ann Roseacute;n #38; Mathias Josefson - Mats Lindstrouml;m Other - Tone - Sten Ove Toft - Bacteria Orchestra Recorded at stage in the Mimer Mine at Norbergfestival 2007 28 July + field recordings of ambient sounds around the area, enjoy audio backup at archive.org (there you will also find a 256kbs mp3 version of this report) | 8/14/07 | Free | View In iTunes |
| 30 | VideoLive set from the Nya Perspektiv/Unga Perspektiv showcase at Norbergfestival | Ah nice back home from the festival in Norberg presenting Nya Perspektiv in their showcase from "young" promising talents. The Norbergfestival is a home for the electronica genre and all of its variety (from high to low) and punk attitude: Do it yourself! Maintained by a Danish collective it amazes me every year I'm there how laid-back and charming grunchy the flavour is. The faithful audience is intermixed with younger seekers of identity and proper lifestyles. Many in the audience are probably playing themselves (some sort of bizarre instrument, heh) and one can see the festival as a way to meet other musicians and cross over inspirations. I guess the laid-back attitude was of course mixed with the more negative "party" attitude which in some case could be a warning sign to the maintainers of this festival. Playing early as 13.00 was not considered as something extra according to light conditions at our scene, a condition that I however was experiencing as a huge problem due to projection issues. This problem could have been easily solved if they had some way to keep some precaution in i.e. painting one wall white, to boost up the video performance as well as for me and others bands after, thumbs down. In this situation I had to use the material I had that contained a large amount of whiteness just so people could see what was going on.. ..due to the light conditions I decided to record the VJ-set internally and sent it as output for this movie. Thumbs up however for the sound technicians, they did a great job! Even under a large portion of stress from one the more "punky" groups in the Nya Perspektiv showcase: Doglife ..that delayed the whole program for 1 hour and then luckily 30 minutes after hard work behind the scenes.. Doglife! No, its not possible to soundcheck in 5 minutes, yikes grow up.. --------------------------------- In this set I was playing with Thomas Gunillasson that has a broad spectrum of moods covering jazz, rock, electronica, ambient, glitch and minimalists. -Thomas Gunillasson guitar and electronics -VJ BabyFace (aka Tomas Nygren) video Recorded at stage in the Mimer Mine at Norbergfestival 2007 28 July 13.00-13.30 http://www.myspace.com/thomasgunillasson http://www.nyaperspektiv.se I recorded some other concerts (fylkingen showcase and sessions from tone and toft) as well they will be available soon.. video backup for this entry at archive.org | 8/1/07 | Free | View In iTunes |
| Total: 30 Episodes |
Listeners also subscribed to
- Kachoozie Stock Images
- Terry Runion
- View In iTunes
- 180 Seniors
- Adrian Campos
- View In iTunes
- Kayo Photo Vlog
- Kayo Sawaguchi
- View In iTunes
- Getty Images Podcast
- Getty Images
- View In iTunes
- FixPHOTO.biz Lightroom Tutorials
- www.fixphoto.biz
- View In iTunes
