Dancing Auto portraits in collaboration Theater Tartaar and de School van Gaasbeek.

Dancing Auto Portraits is a sonic & choreographic research project with metally disabled actors (Theater Tartaar) in the Belgian countryside.

Francesca Saraullo and Cabiria Chomel are artistically involved in ‘Rihabitare il futuro’, a project of cultural and artistic innovation for the Abruzzo region in Italy. "Re-inhabiting the future" is a project of artistic residencies and workshops in the countryside municipalities. The implementation of a series of theatrical events, aimed to blend artistic experimentation (music, dance, theater and performance arts) with the re-use and exploitation a living heritage and landscapes, victim of decades of neglect. The intent is to directly involve the people of the country in the process of creation and implementation. Through the concrete experience of performing arts, the local public will be guided towards education and awareness to create a "new" ,open and available way to use music, theater, dance and the performing arts in general.

"Re-inhabiting the future" means returning to the past from the rubble of consumerist globalization, re-read and update traditional forms of employment and sustainable interaction with the territory, to design a different future, or just a future.

After several many years hosting projects that worked thematic aspects of the territory that were beforehand proposed to artists (riverscapes, voicescapes, religion, rural architecture, social mobility), Binaural/Nodar has been working in 2015 and 2016 on the liberating nature of the absence of a script or of a previous guiding theme, inviting artists to emphasize organic, expressive and visceral contacts with landscapes of the Portuguese Lafões region, through workshops, performances and/or installations which senses are to be locally defined from the stimuli and interactions that ultimately are present.

The four artists who will do creative work in Vouzela have multifaceted and diverse paths in the fields of sound art, vocal performance, code-art, free improvisation and visual arts.

Juan Duarte
Sébastien Piquemal
Para-FonoM GO

The residency of Sébastien Piquemal and Juan Duarte Regino will be based on a workshop with youths from Vouzela, where they will build together a temporary installation in the surroundings of the town. Bespoke devices broadcasting sounds of the environment will be installed, which would be inaudible otherwise. The broad-casted sounds will then be listened to with a simple FM radio, and anybody tuned in to the right frequency can walk around, hunt and discover them. The relevance of this project goes further than merely learning on technology and it aims to use radio critically in the context of participatory art, empowerment and cultural identity through a guided sonic experience.

Emilie Bahuaud
Voices, sounds and words,
a walking diary

Voices, sounds and words, a walking diary is a project to be developed in and around Vouzela that associates sound creation and walking, in an organic manner. It’s a slow process of emergence of sound writing and introspective text, melodies and rhythms, of the body and its position in the environment, day after day and step by step, through the rigour of a repeated exercise as well as the release of the creative process. It might become a recorded diary, a concert, a radio piece.

Marialuisa Capurso
Rural Tableau

The need to listen, to reinvent our listening, the opening of the senses in a non-saturated place. A tactile approach which leads to the perception of otherness. The experience of the real by touch, thus reducing distances, and giving a sense of nakedness and exposure to the world. An investigation on how voice changes, on what the body feels and how it can relate to a specific environment. Marialuisa Capurso will work in Vouzela on the experience of otherness, using body and vocal sensory techniques to tune herself to a new rural environment, and later to record and map a series of long duration performances with the help of graphic scores.

Since 2009 the artist collective Medea Electronique has organized annually a 10-day experimental artist residency, Koumaria, near Sparta in Greece, focusing on improvisation and new media practices. Avant-garde artists from all over the world, inspired by the Greek natural landscape, come together to create a multicultural and cross-media ‘dialogue’ culminating in a collective presentation in Athens at the end of the residency.
The goal of the residency is the creation of an educational experience for the participants that will inspire and exalt their future work. The cross-cultural dialogues that the residency engenders both create new artistic speculations and smelt older assumptions. Past residents have formed lasting friendships and new artistic partnerships. Medea Electronique, being an eclectic art collective, is interested in people from diverse cultural and artistic backgrounds. For us the residency serves as a model for future creative endeavors.

Vougascapes #4 - International Summer Sound Practice and Social Research Residency
Municipalities of São Pedro do Sul, Vouzela and Oliveira de Frades, Portugal
Organized by Binaural/Nodar
Directed by Luis Costa and Manuela Barile
August, 21st – 27th, 2016

Binaural/Nodar has a longstanding experience in working creatively with specific territorial subjects, as a way to embrace a deep reflection on the complexities of the real, particularly of its rural region, Viseu Dão Lafões in Center Portugal. Following previous projects dealing with subjects such as riverscapes, ethno-architecture, religion or rural mobility, we invite international young artists and/or social practitioners for a one week summer camp to collectively work on the geographical and social impacts of the recently built water dam of Ribeiradio in the municipalities of São Pedro do Sul, Vouzela and Oliveira de Frades.

During the week, participants will go through different in-the-field workshops coordinated by Binaural/Nodar team about the local geo-ethnographical context, sound recording/editing/mixing techniques, ethical/moral questions of site-specific artistic practices and cooperation methodologies to enhance collective work.

The end result will be a series of sound/media works, writings, drawings, photographs, etc. that will all contribute to a final small publication to be released later in the year.

Suoni di Monte d'Oro
A Sound & Media Arts Residency
Co-organized by Bambun and Binaural/Nodar
Montorio Al Vomano, 14-20 Luglio 2016

SUONI DI MONTE D'ORO is an artist residency co-organized by two cultural organizations, Bambun from Abruzzo, Italy and Binaural/Nodar from Portugal. The residency will take place between July 14 th and 21 st , 2016 in and around Montorio al Vomano (province of Teramo, Abruzzo, Italy) as an integral part of both Interferenze/Liminaria Festival and SOCCOS, a European network of artist residences in sound art.  

This residency is a direct result of a web of alliances between associations, researchers and artists from different countries and regions in Europe, which share the common perspective of understanding rural areas as privileged spaces for reflection and multidisciplinary action, thus moving away from simplifications about rural and other peripheral regions, derived from both national and supranational centralized economic policies and strategies, most often distant from the real motivations of local populations.    

Life in rural and mountain areas is made everyday by ordinary people, through an often-invisible network of memories, expectations and relationships that are likely to be totally ignored in the incessant flow of global information. It is to bring this intimate and subtle sense of places into light that it is necessary to document and express them, in an attempt to transmit and to allow the survival of ways to feel, to live and to act that are still relevant in today's world, in opposition to so many anxieties and uncertainties that mark everyday life. For about a decade Bambun develops intense ethno-anthropological and ethno-musicological research in the region of Abruzzo and broadly in the central Apennines, through which it has set itself the objective to exercise constant and capillary action of documentation and of renewed narration of the territory both through text and multimedia tools, analyzing in particular festive systems and ritual practices, legendary and hagiographic complexes, agricultural and pastoral works, human-animal relationship, emigration and war, relationship with the mountain and rural environment, the genealogical articulation and familiar patterns.    

In the context of an European project, Network Tramontana, Bambun has established an intense collaboration with the Portuguese cultural organization Binaural/Nodar, which develops a 10 year work in rural areas of the Viseu Dão Lafões region through contemporary creativity, in particular through the art of sounds: rural sounds as an interpretive and expressive system of the past and geo-social change of specific territories.  The complicity between these two organizations has also gradually been transformed into a complicity between their territories, located in different countries but being close because sharing many common elements, integrated in a history and worldview that also includes euro-Mediterranean regions in Spain, France and Greece.    

Recently, the two organizations have come into contact with the team of Interferenze/Liminaria Festival that develops over ten years a critical dialogue between the Italian rural south, sound art and experimental music. It was precisely this open dialogue that created the basis for cooperation in the context of Interferenze/Liminaria Festival, which also aims to develop a permanent nature, with the creation of the project New Apennine Sounds that is set to continue both reflections and contemporary expressions of territories located along the Italian Apennine mountain ranges. 

Project's website: http://nuovisuoniappennino.liminaria.org/

We are happy to announce the residency of Donia Jourabchi in AIR Laboratory CCA Ujazdowski Castle in Warsaw!

The Warsaw edition of SoC-CoS aims to react to the actual problems in the city soundscape – research on sound in its political and ecological aspect.

In 2016, the sounds of demonstrations and political protests became a very important part of the sonic environment of Warsaw. Organisers of these events were rarely aware of just how important a role sound can play during protest. The activities of sound artists Donia Jourabchi and Davide Tidoni, invited to partake in the residence at AIR Laboratory in June and July 2016, were linked to the topic of the acoustic design of demonstrations, politics of sound, and the critical potential of soundart. The sound, in this case, is considered a tool that can be used by the citizens to express their political opinions and stand up for their rights. Residents cooperating with Warsaw artist Edyta Jarząb and Cafe Kryzys were searching for new strategies of designing the sound of political protest and protesting through the use of sound; they organized workshops and improvised sound interventions in public space, but also actively participated in the ongoing demonstrations. The ongoing research on political activism and sound will be summarised in the form of short publication, whose launch is expected to take place in the Autumn of 2016.

Spread the voice No. 1

Special situations call for special forms of communication. Sometimes the message complicates the situation, while other times, it's the situation itself that does that. In the case of the whistled language, Silbo Gomero, it’s a case of both.
On La Gomera, a volcanic island in the Atlantic Ocean, for centuries, the inhabitants of the mountain villages used to make themselves understood with whistles. They developed this form of communication to the extent that they could talk to each other in grammatical sentences and could even distinguish regional dialects. Between 1950 and 1980, the Silbo Gomera almost entirely disappeared due to the expansion of the telecommunications system, the development of a road network on the island and new employment opportunities in the tourism sector on the neighbouring islands. To turn the tide, Silbo Gomero became a compulsory subject at school, as a result of which nowadays, it is performed in restaurants and hotels as a local attraction.

Hence, the original context of whistling has been replaced by a new one. On the question of the meaning of this form of communication today, there is no simple answer, just like the definition of identity is always a proposition. Appropriating Silbo Gomero as a substitute for authenticity without substantiated historical processing and reflection, however, underlines the need for us to view the whistled language in a broader ideological context.
In collaboration with master whistler Kico Corra, historians and ethnologists from the Museo Etnográfico of La Gomera, communication and language scientist Arianna Ancarani, the musician and composer Werner Dafeldecker and playwright Karolin Nedelmann, several works in various artistic formats and contexts have been created in that context since 2012. Central to all these theoretical and artistic reflections is the whistle as a sort of secret code language, one that both separates and connects language and musicality as a cultural practice.  Moreover, it is the ultimate way to produce sound from the human body without technical aids that guarantees maximum reach.

Our plan for Brussels:
Against the background of a historical conflict, a vote was held in Latvia on the country’s bilingualism in the context of a referendum in 2012. That was for us the basis for a sound installation within the context of sound art exhibition SKAN II in 2014 in Riga. In the run up to this event, the attempt to translate Latvian and Russian into whistle language was captured on film. That is how, during the recordings in the sound studio, we see master whistler Kico Correa read Latvian and Russian, while he communicates with us in French, and with the sound engineer in Spanish. And at the end, he also whistles the Latvian-Russian script. The recordings in question form the basis for a new job, trying to do a voiceover: voiceover, overvoice, voice over voice, tuning, overtuning ...  all around the question as to which voice now has, in fact, the right to speak?

Playing the Rural Landscape
Sound art and experimental music artist residency
11-30 April 2016, Santa Cruz da Trapa & São Cristóvão de Lafões (Portugal)

Public presentation: 30 April, 16h00 (CCCP, Santa Cruz da Trapa)
 

In partnership with Município S. Pedro do Sul and União de Freguesias de Santa Cruz Da Trapa, Viseu, Portugal e São Cristóvão De Lafões, Viseu, Portugal.

With:

Ryoko Akama (JP)
Frederik Croene (BE) + Lilia Mestre (PT)
Maciej Kierzkowski (PL) + Jarosław Urbański (PL)

A sound art/experimental music residency with three completed diverse projects, under the generic concept of “playing the rural landscape” in its double, tactile and musical, meanings. The liberating nature of the absence of a script or of a guiding theme, inviting artists to emphasize the organic, expressive and/or visceral contact with (natural and built) landscapes of the Gralheira mountain range (São Pedro do Sul, Porugal), through performances and/or installations to be conceived from the stimuli and interactions arising during the residency.

Ryoko Akama
Object composition - meeting with wild objects, fetching and attempting to transform its comosition daily from installation to text score, then, these functions are enclosed as gift boxes.
In this project, I would like to scroll my way to the landscape as to encounter objects of the winderness, deliver them back to the space to construct sound installations that change daily, recorded daily. All possible materials used are then confined into several boxes and dispatch to... where?

Frederik Croene (BE) + Lilia Mestre (PT)
Performer/choreographer Lilia Mestre and pianist/composer Frederik Croene will use their residency in NODAR as an intensive, performative training in preparation for an artistic project planned for the school year 2017-2018 :“Academie De KunstBrug” in Gent / Belgium. In this project they will use a local art school as a zone for experimental research. Their interest is the classical art education framework (amateur and semi-professional), which is based almost entirely on instrumental learning, and its co-existence with an art and performance scene -also institutionalised-  that wanders  away from technique-based art production. During their residency, they will search for local, classic educational environments, putting embryonic performance ideas to the test. These ideas have been developed in a long process of reading and theorizing and can be put into three categories: the knowing/ignorant teacher and the ignorant/knowing pupil; the metaphoric distance between the classroom and the concert hall; the 19th century vision of virtuosity versus contemporary multi-faceted art practice. Due to professional circumstances, their residential stay at Nodar will be limited to 8 days. During the residency they will install a daily routine of performance practices that investigate how a contemporary art project can invade an art educational institution. 

Maciej Kierzkowski (PL) + Jarosław Urbański (PL)
The aim of Udu-pture project is maintaining collective artistic process based on the Afro-European cultural heritage. The project is about common constructing of a big udu-drum in Lafoes region (Portugal) localisation, utilising the natural materials present in place. The aim is to create a permanent sound sculpture which could be used by everyone to create and feel the natural beats of the planet. The aim of the project is also to activate, educate and unite local communities. We are going to conduct ceramic and musical workshops for local children. The workshops' participants would also create own udu-drums of standard size, learn local folk rhythms and songs, and finally perform during the final live act of burning the big Udu-pture in external kiln.

From 29 January to 7 February 2016, ten international and five Berlin-based sound art students and emerging practicioners were invited to participate in a SoCCoS Micro Residency during CTM 2016 Festival. Apart from visiting the festival's many concerts and events, the students took part in a programme developped together with the Humboldt University Chair of Transcultural Musicology. A special thank-you goes to Dahlia Borsche Carsten Stabenow, Eric Mattson, Davide Tidoni, Carsten Seiffarth for helping create the programme, Bianca Ludewig for coordinating hospitality and leading the activities, as well as volunteers Kyra Crisp and Salomé Stressing from SAE's Music Management class.

INTIVED MICRO-RESIDENCY PARTICIPANTS
Anabela Veloso (PT), André Guerreiro Pinto (PT), Andrew Simon Miller (AU/DE), Benjamin Düster (DE), Carlos Humberto Ortiz Ariza (CO/DE), Caroline Profanter (BE), Dejana Sekulic (BE), Diana Combo (PT), Mateusz Śmigasiewicz (PL), Niklas Meier (DE), Olli Aarni (FI), Philipp Koller (DE), Primoz Sukic (BE), Raimonda Žiūkaitė (LT),

Friday 29.1. CTM 2016 Exhibition and Hacklab Opening
19:00 CTM (Kunstquartier Bethanien (KKB), Mariannenplatz 2, 10997 Berlin)

The MusicMakers Hacklab is a weeklong open, collaborative laboratory hosted by Peter Kirn of Create Digital Music and musician and noise artist Ewa Justka.The Hacklab engages in producing cross-cultural hybrids that imagine future topographies of sound and music performance through its "Future Rituals" theme, re-educating our electronic selves in the potentials of near and distant traditions, systems of musical representation and structure, and performance techniques. The theme for experimentation is a kind of ethnomusicology for machines. The Hacklab celebrates its 3rd edition within the CTM Festival at the CTM 2016 Seismographic Sounds Exhibition opening, with special performances by this year's invited host Ewa Justka & more guests TBA.
About the Hacklab: http://www.ctm-festival.de/festival-2016/transfer/musicmakers-hacklab/?type=0

14:00 Meet & Greet
with all Micro-Residency Participants, coordinators Dahlia Borsche (Humboldt University), Bianca Ludewig (Humboldt University / University of Innsbruck), students from the SAE institute and the day’s invited speakers

The desire to present installation-based sound art provided the conceptual framework for the project gallery »singuhr — hoergalerie« in Berlin since 1996. The focus was on works that were specifically conceived for and subsequently realized in the spaces used by the gallery. At first the work of »singuhr — hoergalerie in parochial« was concentrated on the spaces of the Baroque Parochialkirche (Parochial Church) in Berlin Mitte, where 55 exhibition projects were undertaken between 1996 and 2006, before the city’s two historic cisterns in Prenzlauer Berg became the central presentation venues, along with smaller project spaces, for a total of 33 »singuhr — hoergalerie« exhibitions from 2007 to 2013. Since 2014, the new »singuhr — projects«’s work has been focused on both the securing of new arrangements for the production and presentation of site-specific sound art — for instance through project-related artist residencies — and on the development of an increasing number of co-operative, discursive and theoretical formats.

16:00 - 17:00 Walk by Carsten Stabenow + Davide Tidoni
Tuned City - sound / space / context
listening as intervention

Carsten Stabenow (1972) works as independent curator, producer, communication designer, and artist at the intersection of artistic production and mediation. He studied communications and postgraduate interdisciplinary studies in Berlin, and is the initiator of diverse festivals, formats, and initiatives within the context of new media, art + science, and sound art. Stabenow is the founder of the German media art festival garage, initiator and artistic director of Tuned City, and co-founder of the Berlin art and media production platform DOCK. As a member of the Staalplaat Soundsystem and solo, he has realised several installations and performed internationally. In his work he is interested especially in physical, social and political parameters of space.
http://www.carstenstabenow.de

17:30 Meet & Greet Dinner WAU
(Hallesches Ufer 32, 10963 Berlin)

Sunday 31.1. CTM Discourse Programme - “New Geographies in Sound Art”
13:00 - 18:00 (KKB Studio 1)
Presented by the German Academic Exchange Service (DAAD) and the German National Broadcasting Service (Deutschlandradio Kultur)
http://www.ctm-festival.de/festival-2016/transfer/discourse/

16:00 Presentations by students from Humboldt University seminar: “Studying Popular Music with a Focus on Electronic Music Festivals”
i. Turkish Culture within the Berlin Club scene — Josepha Kirchner and Tessa Vannieuwenhuyze
ii. A Comparative Case Study of Live Coding in Newcastle and the North of England with Electronic Music in Berlin — Alex Lancaster and Charlotte Thompson
https://www.hu-berlin.de/de/einrichtungen-organisation/verwaltung/bolognalab/projekte-des-bologna.labs/berlin-perspectives/kursprogramm/ws20152016/studying-popular-music-with-a-focus-on-electronic-music-festivals-in-berlin

Tuesday 02.02 Visit to Humboldt University Department for Musicology
14:00 - 18:00 (Am Kupfergraben 5, 10099 Berlin)

Dahlia Borsche — “Locating Sound”
In this session the Department for Musicology at Humboldt University invites the SoCCoS Micro Residents to enter into a dialogue between scientific and artistic investigations of sound and music. Taking place at the department’s lounge the session will start with a dialogue between different musicological approaches in the form of two short introductory lectures: Prof. Jin-Hyun Kim (Systematic Musicology) will talk about “shaping sound in time”, followed by Dahlia Borsche (Transcultural Musicology) with a talk about “locating sound”. Emerging thoughts and questions will subsequently be discussed in an open round with the SoCCoS participants and interested students of the department.

17h30 - Library Guided Tour

12:00 - 17:00 CTM Discourse Programme in collaboration with Humboldt University (Studio 1)

http://www.ctm-festival.de/festival-2016/transfer/discourse/

14 - 15:30 Meet & Greet for Collaborative Networks
Presentations by three European Union Network Projects. A chance to meet the organisers and partners of the SoCCoS (Sound of Culture, Culture of Sound), SHAPE (Sound Heterogeneous art and Parformance in Europe) and European Network for Contemporary Audiovisual Creation (ENCAC) initiatives, learn about their initiatives and productions, and to find out how to get involved.
More information: http://www.ctm-festival.de/festival-2016/transfer/meet-greet-for-collaborative-networks/

Friday 05.02 CTM Discourse programme in collaboration with Norient
12:00 (KKB Studio 1)
CTM Discourse Programme: http://www.ctm-festival.de/festival-2016/transfer/discourse/

20:00 Thank You / Wrap-up dinner

<a data-cke-saved-href="https://m.soundcloud.com/internet-7" href="https://m.soundcloud.com/internet-7" target"="">Sunday 07.02 MusicMakers Hacklab - “Future Rituals” Finale
15:00 (HAU2 - Hallesches Ufer 32, 10963 Berlin)
The culmination of a week of collaborative development at the MusicMakers Hacklab sees participating artists move from the laboratory to the performance venue.
About the Hacklab: http://www.ctm-festival.de/festival-2016/transfer/musicmakers-hacklab/?type=0

Returning for a 3rd edition, the CTM 2016 Radio supports commissioned work that proposes ideas for pairing the specific artistic possibilities of radio with the potentials of live performance or installation, while also explore the CTM 2016 New Geographies theme. Supported by Deutschlandradio Kultur – Radio Drama / Klangkunst and CTM Festival, in collaboration with the Goethe-Institut, the SoCCoS – Sound of Culture, Culture of Sound network, Ö1 Kunstradio, and ORF musikprotokoll im steirischen herbst, the Radio Lab selected two winning projects following an open call in summer 2015. The two winners will finalise their work during a 2-week residency in Berlin mid-January 2016, and premiere their works at the CTM 2016 festival, which runs 29 January - 7 February 2016. Subsequent to their CTM 2016 premiere, the two projects will be broadcast via Deutschlandradio Kultur (March 2016).

Issuing from the Tunisian alternative music scene, with strong foundations as a funk and jazz singer, Deena Abdelwahed has been exploring the realm of electronic music since 2011. With “All Hail Mother Internet”, Abdelwahed asks “How would I have ended up without having access to internet when I was a teenager?” as a starting point to explore frustrations about feeling fixed by the constraints of a pre-defined culture, place, identity, and the strategies employed to tackle them.

“GAD Technologies” is a project by Marija Bozinovska Jones aka MBJ Wetware, an artist employing technology that is active in London and her native Macedonia. Jones proposes a collaboration with J.G. Biberkopf, an emerging Lithuanian producer whose “Ecologies” EP recently launched Kuedo’s KNIVES label. As a verb, gad is defined as “to move from one location to another in an apparently random and frivolous manner”. It is also an abbreviation for General Anxiety Disorder. Floating in a virtual realm where cultural markers, gender, position and race are symbolic and arbitrary, and where subjectivity becomes divorced from the constraints of locality, “GAD Technologies” explores fictional geographies by harvesting the overflowing streams of collective imagery. “GAD Technologies” will take shape as a live audiovisual laser performance for CTM 2016.

→ ctm-festival.de

The main subject for Czarny Latawiec’s sound works is the process of tracing fagile correlations between places’ past soundscapes of places and people memories hidden behind their beliefs and daily rituals. During the residency he plans to collect vast library collections of city folklore field recordings and found spoken traces of languages and outlandish cultures. Based on this material he will try to create spacial sound environment for spectral narration of foreigner/migrant audible experience. Depending  your ears tuning you can treat it as a sound collage, dance mixtape, radio work, theatre play or installation. Real time multi layer texture sound and space experience is the thing.

SOUND - MOVEMENT - SPACE

In Brussels we will work with kids in a local community house. Most of the kids have roots in immigration. We will host a workshop that focuses on three things: sound, movement and space.

In the workshop the kids will learn how to make sounds and music, mostly with iPads. After finding the ways to make sounds, there will be movement excersises with the sounds/music the kids make themselves.

We'll also go outside and discover different places nearby: what places the kids find interesting? What kind of movement fits the place, what kind of sound? The aim is to combine all the parts: sound, movement and space together in a video, that will be shared to all the participants/their family.

We want to create an open, supporting environment to learn and be creative. Giving the participants new ways of thinking and making the every day surroundings more meaningful is also an important part of our project.

Playing the Rural Landscape
Sound art residency
Fataunços, municipality of Vouzela (Portugal)

October, 7th to October 24th, 2015
Public Presentation, October 24th, 2015 at 16:00

with:

Tiina Lapola (FI)
Xabi Erkizia (ES)
Leandro Pisano (IT)

An artist residency part of SoCCoS (“Sounds of Culture, Culture of Sounds”) European Network, co-funded by the Creative Europe Programme of the European Commission.

In the year that reaches its 10th annual program of artist residencies in sound and media arts, Binaural/Nodar hosts in its second cycle of residencies three European sound artists/educators/researchers, who will all work under the generic concept of “playing the rural landscape” in its triple, tactile, sound/musical and social/geopgrahical meanings.

After several years hosting projects that worked thematic aspects of the territory that were beforehand proposed to artists (riverscapes, voicescapes, religion, rural architecture, social mobility), Binaural/Nodar returns this year to the liberating nature of the absence of a script or of a previous guiding theme, inviting artists to emphasize the organic, expressive and visceral contact with (natural and built) landscapes of the Gralheira mountain range (São Pedro do Sul), through performances, installations or talks which urge would be locally defined from the stimuli and interactions that will ultimately be present.

The three artists who will do creative/educational/research work in Fataunços have multifaceted and diverse paths, altough sharing a common deep connection with rural spaces.

The research Afónica/Masculinities is a document as well as conversation based research and creation project on the issue of masculinities. It fits within the frame of the growing interest in this issue in academia and social movements. Special attention is paid to the problem of unsaying (from) a position characterized by the privilege of saying.

For this project the voices of that unsaying "male" position, if they can happen should be subjected to - possessed by - other voices. Repeat after them, as Echo the nymph. Be objects of ventriloquism. If they sound, these voices should doubt, stammer. Be voices of the loss of the control of the body. Stuttering, agitated by the squeaks of puberty -a sign of change-. With falsetto: ridiculed. Hoarse, flaccid voices, that can not.
Afónica/Masculinities builds on the work Jaume Ferrete has done in recent years on the subject of the political dimensions of voice and is developed among Catalan, Spanish, Latin-American and European contexts.

As part of CTM Siberia festival, which took place 14-20 September 2015 in Novosibirsk, Russia, Soundwalk Collective affiliate Arthur Larrue conducted preliminary research into an experimental multimedia piece that will see him return with the Collective’s founder, Stephan Crasneanski, to Siberia, specifically to the Altai Mountains found some 600Km south of Novosibirsk. In March 2016, Larrue and Crasneacki will collect sound and visual materials for the project, folloing the below concept. The final work will be premiered in 2017.

Oтшельник
The one who left
Experimental multimedia piece initiated by Soundwalk Collective, based on an original idea by Arthur Larrue. 

It starts from a russian word. 

Oтшельник (otchel'nik) means "the one who left".

It designates the figure, both mythical and real, of one who decided to live in the wild, either by force or through a conscious decision. Set apart from cities and industries, from history and political orientations, a certain number of people have taken the opportunity to disappear into the huge natural and hostile territory that is Siberia. To them, the snow-covered immensity appeared as a perfectly blank page. 

In the Siberian Altaï region, such individual destinies have collectively fomented a culture of deep spiritual achievement. Sharing borders with Mongolia, Kazakhstan and China, the Altaï is actively connected with ancient Siberian Asian roots. Its mountains, taiga forest and very long winter compose a perfect expanse for such runaways.

All of the sounds, natural and human, from noises to music, from dialogues to prayers, are an expression of this life into the wild and reflect a certain knowledge that is built on practical experiences, and which will never be theoretical, but instinctive. The piece’s intention is to capture this intimate and mystical science through sound, image and words.

Старец (starets), Bear Hunter, and Shaman are the faces of the same Man, turning to nature. 

A deep tradition of these fugitives still remains in Altaï. This tradition is connected with several layers of Siberian culture and offers a peculiar glance on a little-known segment of Russian society. 

A poetic portrait of the отшельник through a sonic journey composed with exclusive in situ recordings collected during a month of expeditions, and a sketch of travel through the Altaï Loners community.

→ soundwalk.com
 

Inclusion of Complexity

The micro-residency will host 10 international sound artists, students and academics in Hailuoto to investigate, research and experience remote off grid situation, encounter silence and sparse nature in relation to sound. The participants will engage with locality and the island matter as well as Hai Art art works Sonic Bikes by Kaffe Matthews, The Organum by Lukas Kuehne, The Hailuoto Sound Map by Juan Duarte Regino and the down-village mediaLAB.

Accommodation

http://www.hailuodonlomaasunnot.fi/

Images

Program

• Outdoor field trips

• The Organum

• Sonic Bikes

• Sound Map Hailuoto

• down-village Media/MakersLAB

LECTURE & WORKSHOP on Acoustics & Sound @ORGANUM sponsored by AKUKON

with Henri Penttinen,  PhD in acoustics at Aalto University in 2006 and Anni Haataja, acoustic consultance

Workshop structure
- a lecture on room acoustics and sound source acoustics
- pair work for finding interesting sound source location and listening location pairs
- acoustical measurements of the space
- results of the measurement
- summary on points: "how to play the room"
- open discussion throughout the workshop

Micro-residence: participant list

Anne Lepère
Belgian sound artist
http://annelepere.tumblr.com/
https://soundcloud.com/anne-lepere

Jacek Sotomski
composer, graduated from Karol Lipinski Academy of Music in Wroclaw in Agata Zubel composition and Cezary Duchnowski computer composition class.
http://sotomski.eu/
http://soundcloud.com/jaceksotomski/

Marine Drouan
KRITZKOM / electronic music composer and graphic design, french based in Berlin
http://www.kritzkom.com

Kamila Stasko-Mazur
Phd student at the Wrocław University (Poland), Cultural Studies Departament, specialization - Musicology
http://pracownia.audiosfery.uni.wroc.pl/english-version/
http://pracownia.audiosfery.uni.wroc.pl/prezentacje/
http://musicaelectronicanova.pl/en/men/2015/edumen

Andrew Jarvis
Sound Artist based in East Sussex, UK
https://soundcloud.com/andrew-j-jarvis-1/finland-small-extract-2
http://no-mind-radio.tumblr.com/
https://www.youtube.com/watch?v=e7XU1g_ykmw&feature=youtu.be

Kinga Kozłowska
Finishing cultural studies, based in Warsaw, Poland [took part in Juan D Regino workshop for #soccos]
https://www.facebook.com/pages/Teenage-Lightning/421932161311922?fref=ts

Federico Dottini
composer, DJ from Italy, Milan
studied Electronic Music Composition at IRMus, Acoustics, Psychoacoustics, History of music
and a massive module of Max/MSP
https://soundcloud.com/eulennull/hamas-rules-4-30-am

Paweł Paide Dunajko
DJ, music critic, an activist of the Wroclaw-based internet radio 'radio-alternator.com'
representative of a new literary genre - Liberature
https://soundcloud.com/fieldworkspaide

Izabela Smelczyńska
Musicologist and Journalist based in Warsaw - sound studies and sound art

Antoni Michnik - researcher and performer from Sopot, Poland - a member of a group called Grupa ETC, and editor in Glissandro

additional info

Weather in Hailuoto

More: info@haiart.net

FOLLOW: on twitter @haiart1 or facebook

Open call ended end of June:

Lukatoyboy / Luka Ivanovic - Walk That Sound - Walkietalkies

Walk That Sound is a participatory sound installation/performance aimed at spontaneous development of dialogues of sounds and words via network of amplified walkie talkies. It premiered at CTM festival in Berlin 2014, and its radio edit was broadcast on Deutschlandradikultur. The second staging was adapted to the city of Braga in Portugal, as a part of the residency at Semibreve festival, with the title “Braga, over & out” in October 2014.

Walkietalkies are for decades used in maritime, aircraft, security, childcare and event production surroundings. they also offer the cheapest communication for a group traveling together while abroad.
Usually in reach up to 12km (in dense cities, this distance is about 23km**) cheap walkie talkies (a pair costing like an entry level mobile phone) are capable of only two features : to either send or receive a sound at time. With repeating those actions, a fragmented conversation if formed: it has a two consecutive, but not parallel streams: talking (or transmitting any sort of sound) and, on the other side, listening that sound. Although it might sound like a downgraded phone call, but because of its plenty of frequency ranges, its free spectrum and almost unlimited number of devices and channels, it has a specific sonic quality and different user setup. With a possibility that many users are on the same channel (frequency), one sender can have as many listeners as there is devices (plus people gathered around each device). This way, a transmission is not "one on one" anymore it can go from one to dozen, or a couple to a couple of dozens, and so on. Meanwhile, interference from unknown, but nearby, walkie talkie users can appear. They are a sort of spam, but in form of a dialogue, overheard parallel narratives, whose parts we stumble upon on and is up to us if we will enter a conversation or change to a next/empty channel. These dialogues form parallel microlocal realities we can be sure that these stories are in a walking distance, but still, they can sound like from another world, coming suddenly on air, unrelated and almost unreal. The paradox of free and (un)secured, both inferior and superior communication of the walkie talkies: Except for the price of a pair of walkie talkies, the communication is free, inedependent of the operators and providers. It is probably the last supermarket available tool for unlimited
communication, though lacking in distance and high fidelity. There is no setup, and there is no privacy, although the chances that a communication is shared with an undesired participant is small he or she should have to be in less than 2km and on the same channel in order to eavesdrop. There is no option to archive except to record via audio output, and it’s possible that it’s actually the least monitored (and archived) kind of communication at the moment.

• What are the elements of interaction between the physical characteristics of urban context, socio-cultural environments and sonic experiences?
• Which tools and media can assist the analysis and evaluation of a sonic environment?
• What kinds of architectural and/or urban knowledge are necessary to design soundscapes?
• What are the limitations and shortcomings of the reviewed soundscapes? and possible future directions for addressing these challenges?
• How can we design public space that encourages listening? 
• How can one tactically carry out an urban sound design strategy?

Urban Sound Design Studio (June 22 – July 5, 2015)
Can we imagine a different sound environment, a possible future sonic experience? What role can urban design play in a rethinking of the sonic experiences in this context? How can different urban sonic experiences be organized and enrolled in the design of various public spaces?

The ambition of the program is to develop, question and challenge existing strategies for managing urban sonic experiences by proposing an extended method and various tools for qualitative sound analysis with a focus on the perspective of design practitioners. In different workshops we introduce a grounded understanding of what urban acoustic quality is and how we can work dynamically and creatively with everyday urban sonic experiences. We will focus on a qualitative approach of urban sound environments inspired by the avant garde output of urban electronic music and the acoustic ecology of Augoyard and Torgue (CRESSON). The aim is to go beyond a taxonomic manner of urban sound analysis in order to examine the sound environment at a greater level of structural and phenomenological depth.

Through the introduction of a method and different tools the studio offers participants the opportunity to experiment and to develop a reflection on urban sound design. Participants are encouraged to develop their own possible instruments for interventions in the public space. An experimenting with the preparation of toolboxes and practices in situ as part of a design method is encouraged. Different tools and practices can be used together to explore and represent the territory in a different way. Initial results are shared in situ with a larger public to interrupt, to inspire discussions in everyday practice and affect the planning and construction of public urban spaces in terms of acoustic quality.

A bicycle opera by Kaffe Matthews and theBicrophonic Research Institut, with technical development by Tom Keene

Finding Song Home is the new sonic bike opera made for Brussels by Kaffe Matthews and the Bicrophonic Research Institute(BRI) with tech development by Tom Keene.

It is a work that explores the injustices of birthright and the power of nations governments to enable or prevent the free movement of its citizens. Through meeting and sharing with often illegal non-European Brussels immigrants, Matthews has gathered a mass of their stories which, intimately told through the voices of the tellers, create a multi-threaded libretto to be revealed by audience cycling the GPS linked sonic bikes through and beyond Brussels centre.

The routes the opera takes pass between La Monnaie plaza, the canal border and Molenbeek squares, re-defining these areas as sonic cyclists can pedal through, songs and narratives recontextualized as they unfurl through the shifting street's soundscape and Matthews electronic counterparts. With sounds triggered by where and how fast the bike goes, so each participating cyclist can define their own experience.

Finding Song Home is the BRI's 8th sonic bike opera. It was commissioned by La Monnaie du Munt and Q-02 and has also made and developed eight new sonic bikes in Brussels with cyclo. These bikes will remain in Brussels to be used to make and perform new works.

Finding Song Home was made through Matthews' residency with Q-02 and La Monnaie during which she explored the city, met and worked with residents she met through local community groups Globe Aroma and Vaartkapoen, as well as running route composition workshops for children at La Maison des Cultures, Molenbeek with Flemish theatre director, Ivan Vrambout.

Vernissage Place de la Monnaie: 9 et 10 mai 2015, 12:00-19:00
Vernissage Maison des Cultures/Huis van de Culturen: 10 mai 2015, 12:00-19:00

also available 12 to 30 mai 2015 during opening times at:

Maison des Cultures et de la Cohésion Sociale/Huis van Culturen en Sociale Samenhang Molenbeek
Rue Mommaertsstraat 4, 1080 Brussel
Tuesday - Friday 12:00 - 17:00
Saturday 11:00 - 18:00 and by appointment
+32 465 80 76 08

La Monnaie/De Munt
Prinsenstraat 14, 1000 Brussel / rue des Princes 14, 1000 Bruxelles
Tuesday - Friday 12:00 - 17:00
Saturday 11:00 - 17:00
tickets@demunt.be
+32 (0)2 229 12 11

The cast:

Louiza Amghizar - 
Rasmia Zaaza - 
Fatiha El Mrabet
 - Souad Khelifa
 - Malika Mderreg
 - Claudine Musaniwabo - 
Fatima Kamlichi - Saddie Choua

Conté Morlaye
 - Maati Lhabib - 
Erik Gonzalez Brinck - Prince - Ibrahim - Jimmy - Moune

Adult chorus Met-X / Lucy Grauman

Girls chorus La choraline

Musicians: oboe: Florent Buchel - trumpet: Ivan Vrambout - accordion, electric piano: Moune electronic processings, keyboards: Kaffe Matthews

Software: David Griffiths, Tom Keene
Hardware install: Ludo Engels
Audio assistance: Samson Pignot
Community support: Florent Buchel, Rika Colpaert, Julia Eckhardt, Christel Simons, José Luis Villalobos Prats
Production assistance: Lisa Hall

www.sonicbikes.net
@bicrophonics
www.facebook.com/bicrophonics

Kaffe is finalising Finding Song Home, together with Tom Keene, Ludo Engels en Samson Pignot, and many people who tell their stories, sing songs made by them and composed by Kaffe. The routes the bikes will go on are almost finalised.  

Portuguese cultural organization Binaural/Nodar will be organizing its first SoCCoS residency cycle between April 12th and May 2nd, 2015 with three European artists who will deal with the general concept of playing the/with the rural landscape: Belgian Pierre Berthet, French Yannick Guédon and Swedish Helena Espvall.

During the residency artists will do field work in the mountain rural context of the municipality of São Pedro do Sul, particularly in the villages of Açores and Fujaco.

This is a workshop for children 10-14 years old: hunting for sound and stories, recording, editing, biking. The results will be made into a sound composition being part of the Brussels Bicycle Opera 'Finding Song Home'.