Friday, 2 September 2016

SOUND OF A CAGE: PROGRAM


Check out the program at Tou Scene October 6.-8. October.



(All text pasted in from https://soundofacage.wordpress.com/about/ and https://soundofacage.wordpress.com/performances-and-lectures/)

About

Sound of a Cage is curated by Liv Runesdatter. The triennale is build up around the legacy of John Cage and his fellows, and it combines presentations of art, music, design, performance, workshops, lectures and topical discussions. This third edition of Sound of a Cage set focus on sound poetry.


Performances and lectures

OCTOBER THE 6TH – THURSDAY THE 8TH

19.00: FESTIVAL OPENING
Opening of the festival, the exhibitions and the festival art and books store.

19.10: DADA MANIFESTO – performance
performance by Cecilie Bjørgås Jordheim

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19.40-20.10: UPSWEEP-WHISTLE-BLOOP (First premiere!)
Jasmijn Visser / Stine Janvin Motland / Song Circus
Upsweep, Whistle and Bloop are the names of unidentified sounds detected on the American National Oceanic and Atmospheric Administration’s hydrophone arrays, recorded by the surveillance system SOSUS which has been active since 1961, and was an operation meaning to register the presence of Russian Submarines. After the cold war the operation was reduced, but the hydrophones were not removed, and still during the nineties they picked up a collection of sounds. It is unknown wether these sounds originate from manmade vehicles, such as submarines, or natural phenomena, such as whales or icebergs. Upsweep- Whistle-Bloop takes shape in the tradition of the Gesamtkunstwerk. Just as in the NOAA’s list, all disciplines create an ambiguous world where the organic and the mechanic are constantly at play.
Concept & compostion: Stine Janvin Motland Concept & visuals: Jasmijn Visser Performance & co-composers: Song Circus Costume design: Altinstark
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Jasmijn Visser is a Dutch artist who lives in Utrecht and Berlin, and works on the intersection of drawing, writing, history and design. She studied Visual Art & Design (2006) as well as Fine Arts at the School of the Arts Utrecht (2007), and took part in the postgraduate program at De Ateliers (2011). Visser has exhibited at Galerie Aeroplastics, Brussels, Stedelijk Museum Amsterdam, Witte de With Rotterdam, MOMA Moscow, Krasnoyarsk Biennale Museum Centre Krasnoyarsk, Kunsthal Rotterdam, Centraal Museum Utrecht, Stedelijk Museum ?s Hertogenbosch, and Castrum Peregrini Amsterdam, a.o. She has won the Piet Bakker Prize (2006) and the Gasunie Kunstprijs (2011) and was nominated for the Prix de Rome (2009) and Sybren Hellinga Kunstpprijs (2006). Visser has resided in Borodino, Siberia (2011) as well as on the Falkland Islands (2013), doing historical research. She has realized monumental public art works for the city of Amsterdam, and the state courthouse of the city of Almelo (2013).
Stine Janvin Motland is a performer and composer based in Stavanger, Oslo and Berlin. With an instrumental and physical approach, she explores and pushes the limits of the natural acoustics of the voice, and what a singer can, and cannot be. Her work involves elements of conceptual and spontaneous composition, structured improvisation, performance, and sound poetry. Ongoing projects are the solo piece In Labour, Native Instrument with Felicity Mangan, and brigitte & paula band with Maria Ramvi and Camilla Vislie. In 2014 Stine released two solo albums; Ok, wow (+3db) and In Labour (Pica Disk). Alongside her own work, Stine is a performer of contemporary music, and works with composition, movement and voice in a number of interdisciplinary projects, such as the solo performance Prelude (Janvin Motland/Sickle/ Leguay). She is currently performing in the baby opera Korall Koral (Dieserud/Lindgren & Maja Ratkje), she is a member of the vocal chamber ensemble Song Circus and in the live band of Meshes of Voice (Susanna and Jenny Hval).
Song Circus is a Norwegian vocal chamber ensemble, led by Liv Runesdatter, who specialize in contemporary music and improvisation. The ensemble has given life to an unusual and fascinating vocabulary of sound combined with rare musical precision, and their concerts have been broadcasted by radio- and TV stations in Norway and Germany. Song Circus has achieved The Governmental Ensemble Work Grant 2012-2017 (NO). Their album Anatomy of Sound, presenting new classical music by Ruben Sverre Gjertsen (NO) and Ole-Henrik Moe (NO), was produced by multiple Grammy nominee surround sound producer Morten Lindberg i 2015, and was recently nominated Norwegian Grammy.
20.15: FILM SCREENING – John Cage interview








Foto: Tor Farstad
Foto: Tor Farstad

20.30-21.15: SONATAS & INTERLUDES & EMPTY WORDS
Else Olsen Storesund perform Sonatas and Interludes by John Cage, for prepared piano, together with Cages reading of his Empty Words (from Lectures of Nothing)
 Else Olsen Storesund (b. Norway 1978) pianist and composer. Works with Open Form through the work of Christian Wolff, Cornelius Cardew, John Cage and others, in addition to new compositions. She is educated from the University of Stavanger, The State Academy of Music in Oslo, and with Christian Wolff in the US. Olsen Storesund holds a Phd in performance studies from the University in Bergen, The Grieg Academy – Institute for Music.

OCTOBER THE 7TH – FRIDAY

14.00-14.15: TBA performance
14.15–15.15: LECTURE – “Kurt Scwitters, the Caspar David Friedrich of the Dada Revolution” – Karin Hellandsjø
Karin Hellandsjø (b. 1944), art historian, PhD, from the University of Oslo. She worked as curator at the Henie Onstad Art Centre for almost two decades, during the 1970’s and 80’s, before joining the National Museum of Contemporary Art in Oslo as their chief curator and head of the museum department from 1988 till 2005. In March 2005 she came back to the Henie Onstad Art Centre as director.
Hellandsjø has since the start of her career been involved in national and international museum work and collaboration, and has curated many major national and international exhibitions throughout the years. She is also a notable scholar on modern art, a lecturer and an active writer.
She retired in 2011 and is now working as independent scholar and art consultant.
Hellandsjø is appointed Knight, 1st class, of the Royal Norwegian Order of St.Olav and Officier dans l’ordre des Arts et des Lettres, de la Republique Francaise
15.30-16.30: LIVE LECTURE – “From Beat poetry to text sound composition” – Sindre Bjerga 
Sindre Bjerga https://sindrebjerga.wordpress.com/ has been touring Europe, Russia, Ukraine, Japan, Argentina and South Korea for many years. His incredible long form isolationist and cavernous tape-drone meditation have been released on more than 200 records across the underground spectrum. He’s collaborated with artists, like Anla Courtis, Lasse Marhaug, Robert Horton, Culver, Posset and Adam Bohman. Lately he has been focusing more on collage work and the performative elements in his music, using tapes, re-wired toys, contact-mics, as well as snipptes from ordinary conversations and sounds from the everyday life in his concerts.
He’s also been running the Gold Soundz label since around 2000, having released about 120 records in all formats with artists from all over the underground spectrum.
Sindre Bjerga has also been giving workshops in electronic improvisation for adults and children, using basic components, such as contact-miked objects, focusing on the action and the act of improvising with others rather than the ability to actually play instruments.
16.45-17.15: FILM SCREENING – “Rules and Rebels – A Portrait” a short film by Athropologist Ronnie Smith https://www.researchcatalogue.net/view/147680/150003/0/0. Following Else Olsen Storesund in her search for sounds.
17.15-17.45: LECTURE / TALK- “Open Form – an expanded Interpreters role”, Else Olsen Storesund
17.45: DINNER 
Jaap
19.00-19.40: JAAP BLONK http://www.jaapblonk.com performing Kurt Scwitters “Ursonata” (see text) and sound poetry signed Raoul Hausmann and himself.

JAAP BLONK (born 1953 in Woerden, Holland) is a self-taught composer, performer and poet. He went to university for mathematics and musicology but did not finish those studies. In the late 1970s he took up saxophone and started to compose music. A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions. For almost two decades the voice was his main means for the discovery and development of new sounds. From around the year 2000 on Blonk started work with electronics, at first using samples of his own voice, then extending the field to include pure sound synthesis as well. He took a year off of performing in 2006. As a result, his renewed interest in mathematics made him start a research of the possibilities of algorithmic composition for the creation of music, visual animation and poetry.
As a vocalist, Jaap Blonk is unique for his powerful stage presence and almost childlike freedom in improvisation, combined with a keen grasp of structure. He has performed around the world, on all continents. With the use of live electronics the scope and range of his concerts has acquired a considerable extension. Besides working as a soloist, he collaborated with many musicians and ensembles in the field of contemporary and improvised music, like Maja Ratkje, Mats Gustafsson, Joan La Barbara, The Ex, the Netherlands Wind Ensemble and the Ebony Band. He premiered several compositions by the German composer Carola Bauckholt, including a piece for voice and orchestra. A solo voice piece was commissioned by the Donaueschinger Musiktage 2002. On several occasions he collaborated with visual computer artist Golan Levin.
Blonk’s work for radio and television includes several commissioned radio plays. He also makes larger-scale drawings of his scores, which are being exhibited. He has his own record label, Kontrans. Other Blonk recordings appeared on Staalplaat, Basta, VICTO, Ecstatic Peace, My Dance The Skull, Monotype, Plant Migration Records, Elegua Records and Scumbag Relations. His book/CD ‘Traces of Speech’ was published in 2012 by Hybriden- Verlag, Berlin. A comprehensive collection of his sound poetry came out as a book with 2 CDs in August, 2013, entitled “KLINKT”.
megaphone.Laurent.Combe
Anne-James Chaton is a French artist. He has developed a multipolar body of work, based on a close study of the textual materials which make up the everyday life of contemporary society.
This poor low intensity literature, known as «ephemera», and comprising a multitude of documents printed out by innumerable machines – bank slips, shopping receipts, promotional flyers, customer loyalty cards, business cards, bus, train and metro tickets, etc. – is the source of anne-james’ quests into sound, poetry and visual art. He has several books published by Al Dante and joined the German label Raster-Noton in 2011 with Evénements 09 and Décade published in 2012. He has given many performances in France and abroad. He has worked with the group of Dutch post-rock band The Ex and released two albums, The Journalist (2008), and Transfer (2013), with the English guitarist Andy Moor. He worked on the albums Unitxt (2008) and Univrs (2011) by German artist Carsten Nicolai aka Alva Noto. In 2013 he started a trio with Andy Moor and Thurston Moore, guitarist of Sonic Youth. His plastic and visual works, drawn from his writing materials, have been the subject of several solo and group exhibitions in France and abroad.
In 2005, Anne-James Chaton received the grant encouragement from The Centre National du Livre in Paris and in 2006, he won the support of the Mission Stendhal from The Ministère des Affaires Etrangères (the french foreign ministry) for his literary project on the city of naples, italy. in 2008, he was awarded an Artistic Residency at the Villa Kujoyamo in Kyoto, Japan, by The French Ministry of Foreign and Cultural Affaires.
Since 2009, Anne-James Chaton has been a board member of the poetry commission at The Centre National du Livre (national center for books).
20.15-20.25: SOFA TALK IN THE CAFÉ
With Luke Hall, Dylan Nyoukis, Sindre Bjerga, Cecilie Bjørgås Jordheim and Jaap Blonk. Moderator: Liv Runesdatter.
20.25: THE SOUND POETRY ENSEMBLE – FIRST PERFORMANCE OG A NEW SOUND POETRY PIECE
Performers: Storesund, Song Circus (Kaasbøll, Runesdatter, Stangborli Time), Hall, Nyoukis, Bjerga, Blonk, Chaton. The composition is organised as a board game with dice and cards. New sound poetry (mesostic) by Torild Wardenær (NO). http://www.torildwardenaer.no
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21.00: FILM SCREENING – mesostic and visual poetry & preparert klaver
21.02: DYLAN NYOUKIS solo
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DYLAN NYOUKIS “`music exists outside of as many genre boxes as anyone might care to stick it into. A restless hurricane of mangled-throat vocalisation, wobbly tape murk, and feral punk/noise, the sound is urgently alive and human with a volatile undercurrent of absurd/sinister humor.” As the head of pioneering DIY label Chocolate Monk, Dylan has been issuing a steady stream of sub-underground homemade strangeness since the early 1990s, including a slew of tapes and CDRs by his former band Prick Decay/ Decaer Pinga, Ceylon Mange (with guitarist Bill Nace) and now Blood Stereo (a duo with his wife, the artist Karen Constance).
21.20: LUKE POOT solo
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Sheffield based Strepsils abuser. Recent collaborations with the likes of Adam Bohman, Part Wild Horses Mane on Both Sides, Blue Yodel, Ben Knight, Acrid Lactations, Chastity Potatoe, and Phils’ gang of toughs. ‘I just listened to a bit that sounded like a pig pushing weights with a scotch egg in its gob.’ – Stuart Arnot.
“This is no Skatgobs acoustic jibber-jabber but full-on table electronics with extra-hot jaxx. The amplified whirr of a yellowing fan blade provides a backbone, quickly interlaced with pale blue squeak and some deep, deep groaning. The thing doesn’t so much build as multiply exponentially growing extra mouth holes and excretion glands, fresh gas huffing out at will, tears rolling down gelatinous cheeks, inducing migraines the consistency of crumby Lancashire. Poot puts out the misery like a wheelie bin on a Wednesday night with a thick slice of that Black Lace club classic ‘Superman’. Hitch a Ride!”

21.40-22.00: LUKE POOT AND DYLAN NYOUKIS duo

OCTOBER THE 8TH – SATURDAY

12-14.00: Sound of a Cage – Childrens (6-12 years old) academy and concert
Children between 6 and 12 years old are invited to listen and to create music together with pianist and composer Else Olsen Storesund.
What is an instrument? What is a composer? What is a composing performer? And what does it need to call a collection of sound a composition?
14.00-14.30: The children and Else Olsen Storesund perform a small concert

Thursday, 1 September 2016

Preparations for SOUND OF A CAGE



I'm happy to announce my participation in the Sound Of A Cage Triennale at Tou Scene in Stavanger, October 6th - 8th.
The triennale is based upon the thoughts and philosophy by the composer, poet, anarchist and academic John Cage.
This year the focus is set on sound poetry, and includes performances and lectures, workshops, exhibitions and a book store.

Other participants are: Nina Elisabeth Børke, Jasmijn Visser, Stine Janvin Motland, Song Circus, Else Olsen Storesund, Karin Hellandsjø, Sindre Bjerga, Jaap Blonk, Luke Poot, Anne-James Chatôn, Dylan Nyoukis and Torild Wardenær.






Friday, 22 July 2016

5 years ago


July 22nd 2011, the day of the massacre in Oslo and at the island Utøya, I was travelling to Lofoten Islands to present a new version of my piece Fra Vestfjorden. Local musicians performed in a local café and gallery, Friisgården, at Ramberg.

The news started coming in about was going on at Utøya, but the performance was executed as scheduled.

The days that followed were so unreal and all-absorbing that I realised today that I have not posted this performance anywhere at all. I think it's time.







Thursday, 19 May 2016

para·text Launch

This beautiful collection of works arrived in my mailbox a week ago.
May 17th the publication was launched at IKLECTIK art lab in London.

I want to thank Laura Elliot and Angus Sinclair of para·text for the invitation and for a very successful collaboration.
para·text issue 2 is now available for purchase from
ndex online at



Derek Beaulieu's The Duchamp opening


My contribution for the second issue of para·text is a continuation of The Dada Manifesto sound pieces published November 2015. 
Only this time I've put the original scroll, both the vertical and the horizontal version, of Hugo Ball's Dada Manifesto (1916), that I later recorded, back to it's starting format, the A4-page, and scanned it as it is.

On the paratext website here.








Thursday, 28 April 2016

Torpedo Seminar/Marking The Dispossessed





Torpedo arranged last week a seminar celebrating their 10th anniversary. How To Raise A Teenager was held at Kunstnernes Hus April 22.-23.
Corinne Gerber (Cologne/Montréal) from Passenger Books presented one of their resent publications Marking The Dispossessed by Danielle Aubert.
In this fascinating book Aubert has compiled hundreds of isolated reader's marks found in a collection of used copies of Ursula K. Le Guin's 1974 anarchist science fiction novel, The Dispossessed. Erasing the text, only leaving the marks behind. It also has the potential of being a score; it has been performed as polyphonic group readings, (where each reader is reading from a different copy), and as an instrumental interpretation of the markings, composed by Jason Treuting of So Percussion and Mobius Percussion. The various readers' marks has also been compiled into a book.
Order it here.



RAUME FÜR NOTIZEN


Documentation from the visual-, digital- and transmedial poetry festival Räume für notizen 2014 and 2016 in Vienna, has arrived! 
I participated in 2014 exhibiting work at galerie wechselstrom, and a performance at Alte Schmiede together with Stine Janvin Motland and Maximilian Ölz.

Read more about it here.

Friday, 1 April 2016

(SHMF-019..)




January this LP appeared in my mailbox.
Late 2015 I was engaged in a collaborative project initiated by Kommissar Hjuler und Frau based in Flensburg, Germany. We were to respond to a CD track with german spoken words, parts reading, parts discussing George Mead's sociological theory of The Generalized Other, a concept used in the field of symbolic interactionism.

My response is a short piece for a music box, based upon the words Die Verallgemeinerte Anderen (The Generalized Other).
This was done by isolating the letters C, D, E, F, G, A, B in the text and using them in a notational system to indicate pitch. The melody was then played with a PRIRI-technique.
P-R-I-RI indicates the many ways a musical piece can be played. P stands for Prime (the original version of the melody), R is Retrograde (backwards), I is inversion (melody is flipped around the first note in the melody) and RI is Retrograde Inversion (being the flipped version played backwards).
All of which is easy and possible to do on a music box.
In this case the first 13 notes (D-E-E-A-G-E-E-E-E-A-D-E-E) are Prime, then starts retrograde, and so on.

The LP has an exclusive edition of 100.

The project explained by the initiators:
Kommissar Hjuler and Mama Baer run a project called (SHMF-019+…) for which any artists are allowed to create versions of the reading DIE ANTIZIPATION DES GENERALIZED OTHER. A tape, several CD-Rs and some LPs still have become released in this series on Der Schoene-Hjuler-Memorial-Fond.
 
The Generalized Other refers to George Herbert Mead's psychological explanation for the origin of social self-consciousness. Within Mead's theory, is the act of 'role-taking' in which individuals react to social gestures, and adjust to common attitudes. Through 'role-taking', people adapt to social exchanges based on gesture-response action sequences. Self-consciousness is then developed through these social actions and completed upon personal reflection. (..) It is a stumbling dialogue with reading parts and conversation parts and in the result we do by far not justice to the grandilocant or intellectual theme.
Mainly artists and musicians from experimental music scene have contributed, but not at least, this project is to create a mix of most different music styles, one of the stranges contributions was by the Afro-French Urban-Rap- and Dub-musician LO daam, who normally creates music far from any experimental scene, and the crazy version by the dark metal band HELLMOUTH from Rotterdam.