SoundLAB VI – SoundPOOL may be visited at http://soundlab.newmediafest.org

The complete interview may be read at http://sip.newmediafest.org/?page_id=190

Sunday evening the switch was off and would never be on again.
The Wunderkammer was born, lived and died like a dragonfly. Choroechoic composition is real and now I intend to concentrate my efforts in realizing more concepts by using and developing this method of composition.
About the exhibition I will just say that the feedback was positive. But who can you trust in being honest? Everyone wants to be polite. But not children.
I was positively surprised, almost spooked by the reactions of two kids that entered the Cabinet. Both said that this exhibit was their favorite.
I don’t know and I don’t care why. Probably because children get excited when their perception is challenged.

A little girl around 7 years old asked me. “Can I go in there?”
I replied “of course you can, but under one condition; you have to tell me what you hear”
I was surprised when she started running from the one speaker to the other saying… “Water, wind, wood, glass…”
It was an incredible experience for me to see my work through the eyes or better the ears of a little girl. I can not hide I was moved. There was no water, wind or wood in the wunderkammer, but this does not matter. The important thing was that for her, there were. Her imagination was stimulated and the smile on her face meant to me more than the praise of the most renowned sound artist.

Another little boy at about 3 years old entered. The question the same; “What do you hear?” the reply came through the mouth of his mother as he was a bit too young and shy to speak to me…
“Monsters and Robots!!!”
What an incredible response.

For me The Sound cabinet of curiosities was successful. If it sounds like monsters and robots, then definitely it sounded strange. I would like to thank everybody that contributed in any way for the realization of this project. But even more…

…Thank you little ones…

Libero Colimberti, Jan Hendrickse, Simone Izzi, Nitin Lachhani, Luc Messinezis, Maria Papadomanolaki, Vytis Puronas, Mark Shorey and Mark Wright.

Comprising of ambitious works by nine artists who employ sound as the principle media of their practice, Audio Forensics demonstrates the breadth of engagement with sound in the arts, and how it can be re-evaluated in the context of an increasingly noisy world.

Sound art encompasses a wide range of forms and concerns and has its precedence across many creative fields, yet, as these artists demonstrate, the acknowledgment of sound’s significance in the arts is becoming of greater importance as technologies develop, and as the public become ever more aware of the interactions between sound, space and artistic practice.

Audio Forensics provides an extraordinarily comprehensive inquiry into how sound, and its manipulation, influences our experience and understanding of our environment.

SYMPOSIUM

30 NOVEMBER 15:00-18:00 RSVP

Symposium in which Ben Borthwick, Assistant Curator at Tate Modern, and Steven Connor, professor of Modern Literature and Theory at Birkbeck, address issues of sonic practice raised by Audio Forensics. The symposium is free however places are limited. To reserve a place please call 020 8980 5475 or email mail@imagemusictext.com

Audio Forensics is an exhibition and symposium presenting the final work of the first MA Sound Arts graduates of London College of Communication. The groundbreaking work in the exhibition demonstrates the high level of critical debate in sonic disciplines fostered by the university’s Department of Sound Art and Design since 1998. The exhibition is co-curated by Electra and IMT

I M T

UNIT 2/210 CAMBRIDGE HEATH ROAD
LONDON E2 9NQ UK
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