The set of events that we gathered in this pre-conference is also an integral part of the Aural Experience, Territory, and Community Project (FCT-2018-2021 - PTDC/COM-CSS/29096/2017). This project, following the Lisbon Sound Map, intends to make a more exhaustive survey of the citizen's relations with the urban environment and the influences of sound in their daily work.
Alongside this objective, this project, when integrating itself in this international congress, also intends to bring to the public discussion the best that is done in the area of sound studies, in order to deepen in the community the interest in the sensitive culture and what it composes, as acoustics, music, phonography and its path in artistic practices and contemporary thought.
Jordan Lacey will share his thoughts on the role of biophilic design and acoustic ecology in relation to urban design. However, he will do so by reframing the nature-focus of biophilia with the perception-focus of ambiance theory and practice. In-so-doing it is his intention to provoke new thinking about the design of our cities by arguing against the creation of forms, shapes and atmospheres that mimic nature, by instead focusing on experimental practices that explore new relationships between the human-body and Earth-body. This, he will argue, is a part of the reindigenising of the human-body in relation to the formation of the Anthropocene. He will use a variety of practice-led projects, including the curated sound art exhibition, Translating Ambiance, the performative field recording, Performative exploration of two pylons and the in-process sound art installation, Sonic Gathering Place, all of which experiment with the role of perception in the creation of new urban environments.
Short Bio: Jordan Lacey is a creative practitioner, transdisciplinary researcher, musician and curator who specialises in soundscape design and the creation of public sound art installations. He was recently awarded an Australian Research Council (DECRA) grant titled Translating Ambiance. This project combines biophilic design and ambiance theory to discover new techniques for the creation of sound art installations. He is based in the School of Design at RMIT University in Melbourne, Australia and is an associate editor for the Journal of Sonic Studies, which is based in the Netherlands.
We are used to the loud sounds of our cities. They are ever present in urban life. We hear them continuously and take them into account in daily life whether we are listening or not.
But what of the smaller and hidden sounds that also surround us. Often they are not noticed at all, perhaps because they are very quiet, but also because our ears are not designed to hear them. Sounds that are underwater or occur as vibrations in the solid materials of the city need different approaches to become audible.
The ‘Hidden Sounds” workshop will explore these sounds. We will concentrate on the small and hidden using our ears, but also with different technologies that make audible the sounds and vibrations that are otherwise very difficult, even impossible, to hear. Hydrophones will be used to listen underwater and contact microphones to hear inside solid structures and materials. Simple electromagnetic pick-ups will reveal the ocean of electrical signals that permeate today’s city life.
Short Bio: Peter Cusack is a field recordist, musician and sound artist with a long interest in the sound environment. He initiated the “Favourite Sounds Project” to discover what people find positive about their everyday sound environment and ‘Sounds from Dangerous Places’ (sonic journalism) that investigates sites of major environmental damage such as the Caspian Sea oil fields and the Chernobyl exclusion zone. He produced 'Vermilion Sounds' - the environmental sound program - for ResonanceFM Radio, is a research fellow at the London College of Communication and was DAAD artist-in-residence in Berlin 2011/12, initiating ‘Berlin Sonic Places’ that examines relationships between soundscape and urban development. Musical collaborators include David Toop, Steve Beresford, Terry Day, Tomomi Adachi, Martyna Poznanska, Max Eastley, Nic Collins, Viv Corringham. He is based in Berlin and London.
Generations Z and Alpha are emerging. They are today’s young people who are digital natives and technologically connected, but also inheritors of dystopian legacies. Growing up in times of economic and environmental crises, young people today record and broadcast themselves and lives to global audiences - they are cultural producers. How do we tune into the pulse of children's and young people’s emerging cultures? How do we recognise them as active inheritors of the world and as active political beings? What methodologies of social engagement can contemporary art orchestrate that amplify young people’s voices? Can sound and listening open up ways to recognise young people as creators of new social solidarities and environmental justice, and as authors of hopeful futures?
In his talk, the artist Mikhail Karikis will focus on art projects he created in collaboration with over one hundred children, teenagers and young adults, which have been commissioned by the Tate, Whitechapel Gallery and the Biennale of Sydney. He will focus on works he developed with youth growing up in post-industrial areas and on the edges of urban centres, within communities afflicted by unemployment or structural neglect, from diverse ethnic backgrounds in different locations in Europe. He will focus on themes of acoustic ecology and childhood activism, communal noise-making and protest, youth aspiration and political love.
Short Bio: Mikhail Karikis is a Greek-British artist, living in Lisbon and London, working and exhibiting internationally. In his work in moving image, performance, sound and photography he collaborates with communities located outside the context of contemporary art and he searches for strategies that amplify the voices of those who may be political overlooked, marginalised or structurally neglected. He employs listening and video-making to question the power dynamics between the visible and the unheard, and as forms of activism and care. In recent years, through collaborations with children, teenagers, young adults and people with disabilities, he has developed participatory projects to explore legacies of techno-dystopias, ecological and economic injustice. His projects prompt an activist imaginary and rouse the potential for people to imagine futures of self-determination and potency through the nurturing of critical attention, dignity and mutual tenderness. Karikis has exhibited in leading biennials including 54th Venice Biennale, (2011), IT; Manifesta 9, Ghenk, (2012); Aichi Triennale, JP (2013); 19th Sydney Biennale, (2014); Kochi-Muziris Biennale, IN, (2016); MediaCity Seoul, KR (2015) and Riga Biennale of Contemporary Art, LV (2020). Recent solo exhibitions include Ferocious Love, TATE Liverpool, UK (2020); For Many Voices, MIMA, UK (2019-20); Children of Unquiet, TATE St Ives, UK (2019-20); MAM Screen, MORI Art Museum, Tokyo, JP (2019); Children of Unquiet, Fondazione Sandretto Re Rebaudengo, Torino, IT (2019); No Ordinary Protest, Whitechapel Gallery, London, UK (2018-19); Ain’t Got No Fear, Turku Art Museum, FI (2018); The Chalk Factory, Aarhus 2017European Capital of Culture, DK (2017) and Love Is the Institution of Revolution, Casino Luxembourg Forum d’art Contemporain, LU (2017).
As a result of covid restrictions, like everyone during the past year I have spent much more time at home than normal. Consequently, my relationship with the immediate sounds of neighbours (human and non-human), the building itself and the audible city outside has become far more conscious and knowing. Through my window I’ve paid more attention to sonic details, the timings at which various sounds occur, their evolution through days and seasons and the profound effects of weather. I’ve documented this, as far as possible, through audio recordings and also attempted to respond creatively (live on guitar) in ways that take these sounds into account and fits to the environment. Both have raised questions about my role and active participation in the immediate soundscape including such issues such as privacy, sonic footprints and aural health. The talk reflects on these experiences and plays examples of sound recorded.
In this brief presentation focused on sound, the artist will discuss some of his own work concerning the boundaries between artistic territories and scientific knowledge, highlighting transdisciplinary, methodological multiplicities, non-standard sound concepts and exploratory chains of resonance.
Short Bio: Jonas Runa [Artist, Researcher, University professor]. His artwork was presented at the Museo Guggenheim Bilbao, 55th and 56th Venice Biennale, 798 Art District, ARoS Aarhus Kunstmuseum, Galerie Scheffel, Logos Foundation, Théâtre de la Ville, Arnold Schoenberg Hall, Yorkshire Sculpture Park, among other venues. He holds a PhD in Science and Technology of the Arts by the Portuguese Catholic University, and a Postdoc CEEC by FCSH/Nova University of Lisbon. Currently, he is the Co-PI of the FCT project ‘Technologically Expanded Performance’ and Assistant Professor at Lusófona University.
This talk will consider the voice in artistic practice to listen out for how it forms the body we think we see as a certain figure through the agency of its formless cry. It will debate how the voice disrupts the image and queers its form: opening taxonomical categories to hear the sound of humanoid aliens, vampires and monsters, which as transversal corporealities breach the certainty of the skin through its double function to be at once “the limit of the embodied self” (Margrit Shildrick, 2001, p.161) and “the fleshly interface between bodies and worlds (Sara Ahmed and Jackie Stacey, Thinking Through the Skin, 2001, p. 1). The voice beyond semantic articulation, opens in the excess of intelligibility another portal to a world not identified by names and categories but from its relationships and in its transformations. With the voice of this transforming body the Raptor cries her own name rather than the one given to her by her master. And as her call circles in ‘ecstatic fury’ with ‘greater zest and buoyancy of flight’, the possible becomes actuality. (A J Baker, The Peregrine).
But from the raptures of this possibility, the being in excess also defines its marginality, condemning it to remain unheard. How can a voice that speaks beyond the semantic make itself count? How can the rupture become an articulation beyond the refusal to speak? - How do voices come to matter?
Short Bio: Salomé Voegelin representing the Professorship Sound Studies in Hochschule für Bildende Künste Braunschweig, and she is Professor of Sound London College of Communication, University of the Arts London.
Salomé Voegelin is an artist, author and researcher who has long been interested in the sense of hearing and the relationship of sound with art, power and the community. Her most recent book is Sonic Possible Worlds. She actively participates in the development of the area of sound studies with installations, performing acts and in transdisciplinary sound productions.
In a sense of human-machine creativity in algorithmic aesthetics that includes abduction and diagrammatic reasoning (Peirce), the AI algorithm Spawn is used as a new ensemble partner of trained and enhanced voice double by Holly Herndon. Her album PROTO goes beyond limitation of voice-based embodiment, in order to create music with her voice that surpass the physical limitations of her body to find a "new sound and aesthetics". In the method of personalized sound trained AI instead of representative style of "permission-less mimickry tailored to give people what they like" in repetitive imitation (e.g. of pitch, length, rhythm) of composition styles such as Bach’s, Herndon trains her AI algorithm by a) her own voice and singing b) voices and singing of friends as material of sound c) the audience´s voices and d) musique concrete elements. Herndon defines Spawn as an AI other or a "hyper version" of herself who can "sing endlessly within a certain range without having to take a breath in between: "We are AI!"
Alexander Matthias Gerner - PhD in History and Philosophy of Science on Philosophical Investigations of Attention (University of Lisbon) Researcher of the R&D Unit CFCUL Centro de Filosofia das Ciências University of Lisbon, where he is Member its Scientific Council, Coordinating Committee and Vice-coordinator of the GI3 Group - Philosophy of Technology, Human Sciences, Art and Society . Alexander Gerner works on Hacking Humans: Dramaturgies and Technologies of becoming other(HUM+DRAMATECH). Research and teaching on interdisciplinary aspects of philosophy of technology and media to rethink & hack into rehearsals of noise and resonance, sonic thinking, artistic research, art, dramaturgies of alterity, green ethics and a new social contract & human aesthetic experience in the age of AI/ML/VR/Biotech for a critic of algorithmic rationality. Gerner researches and teaches "Philosophy of Technology" (PhD Level) @ interuniversity Doctoral Program Philosophy of Science, Society, Technology and Art and guest-lecturer at the Faculty of Science for the Course "Computers and Society"@ the Faculty of Science of the UL.
Vinícius de Aguiar - Ph.D. candidate at the Centre for Philosophy of Science of the University of Lisbon (CFCUL). Currently preparing his thesis on the concept of Musical Diagram in musical composition and listening based on C. S. Peirce. Vinícius is undergraduate in Musicology (UEL, Brazil) and has an MA in Philosophy (UNESP, Brazil). His main areas of interest are C. S. Peirce’s philosophy, Musical Creativity, and Philosophy, Science and History of Musical Technologies.