PROGRAM OPEN CALL
The festival’s inter-nordic conference opens with a series of presentations on the body in music.
Keynote performance-lecture by composer and vocalist Marcela Lucatelli.
For how it feels, we hear: structure-borne sound, tactility and immersion in sonic practices
Eetu Palomäki surveys the use of surface exciters to transduce sound through physical materials in his installations. He reflects on embedding wind in paper, AI intersubjectivity, and thinking about sound in space as opposed to in time.
Voicing of a dancing body
Yelena Arakelow presents her improvisational practice of encouraging the dancer’s voice to participate in the dance. Based on speaking in tongues, the technique influences the body's movements and becomes an instrument of awareness and presence.
Olga Szymula guides the audience through a somatic experience, informed by her artistic research on expanding the act of listening by activating the whole body.
Sól Ey presents her ongoing research on electronic music that links physical gestures with music performance, through experiments with her wearable instrument Hreyfð that connects sound with movement, space, and the body.
From idea to embodiment
Emelie Sjöström shares her experiences of memorizing entire concerts of music and discusses the mapping of music onto the body. She examines comparisons between mental knowledge and embodied memorization, as well as the difference between the embodiment of written scores and improvised music.
My Body is Your Body - performer agency in composer-performer collaborations
Andreas Borregaard. The relation between composer and performer in the creation of new musical works has long been debated, and with performative music bringing the performer’s full body into the limelight, new layers are added to this debate. In this performance-lecture accordionist Andreas Borregaard will present and discuss aspects of performer involvement based on two of his recent collaborations with composers Louise Alenius and Marcela Lucatelli.
Day 2 of the conference centers on themes of symbols and the symbolic.
In finding an alternative to a failed speech, an attempt is made to construct an immanent space without any type of input.
Musical functions in Akira Kurosawa’s film Seven Samurai
Nuutti Huhtilainen provides a functional analysis of music in Akira Kurosawa’s film Seven Samurai. He makes the case for Kurosawa as highly skilled and elaborate in his use of music in film.
Lydtryk#1: Marstal Havn
Mads Bech Paluszewski-Hau presents reflections on working with symbolic representation as a way of thinking about sound as a medium that connects entities of both biological and non-biological origin.
Tine Surel Lange. An insight into the borderland between composition and visual art, where mythological creatures of the past, peri-apocalyptic creatures, and the possible new life forms of the future appear in surrounding instrumental, electroacoustic, video, and installation works. Who and what are these creatures? Where do they come from? And what is it they want?
Writing - withdrawing
Niklas Brandenhoff will present “sechs bagatellen für streichquartet, opus neun, von Anton Webern" where the concept is to remove all accidentals from Anton Webern's original work.
Now or Newer
Arash Pandi and Juliana Hodkinson facilitate participatory group discussions focused on aligning restorative life practice and artistic practice through listening, action, and knowledge-exchange: organic approaches to finding new visions - narratives and outcomes for restorative practices involving land, culture and sound - alignment of restorative practices within sound and farming - new field-to-plate and process-to-event concepts. Presented in collaboration with Danish Composers Society.
Day 3 of the conference deals with topics of language and the linguistic.
Lecture in IMEON
With an intransparent clarity and dexterity IMEON unveils and evolves itself as a language as music as a transmitter.
John Andrew Wilhite-Hannisdal presents on his ongoing collaboration with Dominican artist and writer manuel arturo abreu. This project focuses on non-representative language’s ability to deal with death in ways that representative language cannot.
Speaking Intonations in Music
Niilo Junnikkala argues that speaking intonations (i.e. characteristics that have the potential of being perceived as analogous to speech in the experience of listening or performing music) are “musical universals” in their own right, connect to musical meaning, and may have implications for the future of music.
Ann Rosén creates a score of her life as an artist
At the invitation of Konstmusiksystrar, Ann Rosén presents excerpts from her graphic score book that chronicles three periods of her artistic history: using resistant materials, stagings, silences and sounds.
Mickey Mousing as a de-structuralist artistic practice
Anders Hannevold. Mickey Mousing refers to the mirroring of different elements (i.e. music mimicking actions on screen), and is commonly used as a derogatory term in the art music scene. Hannevold challenges the negativism to this term, and expands on the possibilities it affords through a semantic approach.
The Tactility of Language in Music
Mathilde Schelin reflects on her own generative and interpretive practice of working with text in composition. She focuses on the process of creating pieces that explore text both compositionally and performatively, as well as the use of writing exercises as a means of exploring a scene or a feeling.
Phantom Words Auditory Illusions
Alexander Tillegreen presents his ongoing artistic research on the phantom words auditory illusion, a language-based psychoacoustic effect that triggers the illusory sensation of hearing inner streams of words within the mind of the listener. The words that are heard are based on ones own linguistic background, and also cultural embeddedness. Themes of embodied and situated listening, language borders and participatory interaction will be discussed. Following the presentation, Alexander leads an interactive listening session where he presents examples of phantom words stimuli.
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Free for all
The final day of the conference opens up to miscellaneous topics not covered under the three previous themes.
Reimagination ~ A Vibrational Practice
Feronia Wennborg opens up a space for considering the capacity for emergent novel and hybrid experiences with sound. Framed as a multi-part performance, she offers up possibilities for reimagining the relations embedded in practices of listening.
Misreading music: GF Händel vs Leonard Cohen
Frej Wedlund uses Harold Bloom’s The Anxiety of Influence as a springboard for concretely dealing with the weight of musical heritage. He examines the creative potential of misreading one’s predecessors as found in his recent works.
Tara Valkonen presents on her installation, Nest – made in collaboration with the architecture student Siiri Hänninen. She reflects on the concerns and outcomes of attempting to create something that is universally recognized as a symbolic haven.
What about the audience?
Matthew Grouse excavates the processes, obstacles, ethical considerations, and outcomes encountered in the creation of works that foreground audience participation. He touches on gamified audiovisual scores for audiences, poly-temporality as a result of audience intervention; vibrotactile interaction and haptic perception, and the potential political motives and implications of participatory art practices.
Drag is the Discipline
Josh Spear offers a perspective that complicates the wish for parity between the musical, the physical, the theatrical, and visual found in Jennifer Walshe’s “New Discipline Manifesto”; for music to encompass all. He grounds this view in a reflection on the production of his Drag Film “The First Ladies”.
Siri Landgren takes our culture’s fixation with perfection and authenticity as a starting point, and sets these topics in relation to transhumanism. They wrestle with ideas of bodily perfection through a discussion of two of their works that stretch the boundaries of the body.
Communities and technology
Guðmundur Arnalds and Ida Juhl question in what ways a focus on technology is affecting the accessibility and communities surrounding electronic composition, and what happens when technology steps into the background of a creative process.
Dalin Waldo. Can synthesizers transmit emotional energy, the so-called “eloptic energy”? Can we consider improvisation as a way of conversing with our synthesizers? And can we build synthesizers in the future based on the understanding of eloptic energy? A lecture performance about esoteric engineering, deep listening, and the aesthetic of electricity.