Tag: Heribert Friedl

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Sublimation

©Tu M’, 2009

Sublimation: An Exercise in the Immersive

Exhibition
March 3 – April 7, 2012

Opening 
Saturday, March 3, at 5 pm

Audio Screening
Studio 04
Saturday, March 3, from Noon to 7:30 pm

Live Performances
Studio 01
Saturday, March 3, from 7:30 pm to 8:30 pm
(pass required, available at OBORO from Tuesday, February 28)

Curators: 
Helen Frosi, France Jobin and Yann Novak

Sublimation: An Exercise in the Immersive is an exhibition featuring a range of audio-visual works  that respond to the idea of the sublime. The exhibition presents eight international artists: Mark + Laura Cetilia (US), Ryan Connor (US), Robert Crouch (US), Gary James Joynes/Clinker (CA), Mimosa|Moize (TW, UK) and Tu M’ (IT).  These works saturate the sonic and visual landscape, drenching and enveloping the audience and must be experienced to be truly understood.

The six audio-visual works on view in Sublimation: An Exercise in the Immersive explore the sublime through their creation of expansive, saturated and meditative environments.  Each artist’s work accentuates an understanding and appreciation of multi-sensory experiences.

The artists in this exhibition explore a wide range of artistic styles and practices, from audio and video field recordings (Morning by Mimosa|Moize), the utilization of broken lenses for light and sound manipulation (Letterlens to Kid Eyes by Ryan Connor), and the incorporation of ceremony and ritual (Provody by Gary James Joynes/Clinker).

One of the more well know works in the exhibition comes from artist duo Tu M’ (Rossano Polidoro and Emiliano Romanelli) who contribute a work from their Monochrome series: Monochrome # 09+V06, a reductive landscape that has been distilled down to fragile atmospheric shades of blue. Robert Crouch pushes the idea of traditional landscape further with his work Dusk, which presents an impossible landscape where a single surface shifts from land formation to skyline and back again.  Landscape leads to location based work in Mark + Laura Cetilia’s Visiting Hours where the piece is formed from recordings within the Museums of Bat Yam, Israel where the piece was first exhibited.

The opening night of Sublimation: An Exercise in the Immersive is accompanied by two complementary programs; an audio screening including works by: Katherine Bennett (US), Celer (US, JP), Stéphane Claude (CA), Heribert Friedl (AT), Robin Parmar (UK, CA, IE), Tomas Phillips + Craig Hilton (US), Scant Intone (CA) & Tom White (UK); and a concert consisting of live performances by:  Robert Crouch (US), David Kristian (CA) and Mimosa|Moize (UK).  The audio screening serves to highlight a larger range of work that fits into the idea of the sublime.  The live performances is a chance for both artist and audience to be consumed by the same visceral experience, to be drawn into and among the same heights and depths of the sonic and emotional spectrum.

Artists:

Exhibition:
Mark + Laura Cetilia (US), Ryan Connor (US), Robert Crouch (US), Gary James Joynes/Clinker (CA), Mimosa|Moize (UK, TW), & Tu M’ (IT).

Sound Diffusion:
Katherine Bennett (US), Celer (US, JP), Stéphane Claude (CA), Heribert Friedl (AT), Robin Parmar (UK, CA, IE), Tomas Phillips + Craig Hilton (US), Scant Intone (CA) & Tom White (UK).

Sound Performances: 
Robert Crouch (US), David Kristian (CA) & Mimosa|Moize (UK).

 

Curators:

Helen Frosi is an artist and curator with an interest in sonic and olfactory arts, currently based in London (UK). Helen is co-founder and creative director at SoundFjord the UK’s first sound-devoted gallery and research unit. As a serial collaborator with nomadic tendencies, Helen has programmed internationally for organisations and festivals as well as creative and unconventional arts spaces. Recent projects include screenings, performance and installations for, among others, Apiary Studios (UK), Café Oto (UK), Dragonfly Festival (SE), Galerie8 (UK), Gorey Arts and Film Festival (IE), ICA (UK), Pigeon Wing (UK). Helen is currently a nominator at Supersonix (UK).

soundfjord.org.uk

France Jobin (1958) is a sound/installation artist and curator residing in Montreal. She has created solo recordings for ROOM40 (AUS), nvo (AT), ATAK (JP), murmur records (JP) and LINE (USA). Her sound installation Entre-Deux presented within the new media exhibit DATA/FIELDS, was met with critical acclaim in Washington DC. Curated by Richard Chartier, DATA/FIELDS included Ryoji Ikeda and Mark Fell among others. As a curator, she has presented several events, amongst those: emptiness at Monkeytown, New York (2006), Nocturne 3, Mutek in 2007 (co-curator) and her latest endeavour Immerson (2011) at OBORO, a concert event/philosophy which she initiated and is curating.

francejobin.com

Yann Novak is a sound, video and installation artist based in Los Angeles. He has presented his installation work through solo exhibitions at 323 Projects (CA), Armory Center for the Arts (CA), Las Cienegas Projects (CA), Lawrimore Project (WA), Soundfjord (London, UK) and in two person exhibitions at the Henry Art Gallery (WA) and  Pøst (CA). In 2005, Novak re-launched his father’s Dragon’s Eye Recordings imprint with a new focus on limited edition releases by emerging and mid-carrier sound artists, composers and producers. Since its re-launch, Dragon’s Eye has published over 60 releases and has received critical acclaim.

yannnovak.com

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re/flux | curated by Soundfjord

EVENT HORIZON – i8u – Cédrick Eymenier

EVENT HORIZON screening at ICA

Event: Museums at Night:
SoundFjord
[The Sublimated Landscape/Sonic Topology]

Venue: ICA
The Mall
LONDON
SW1Y 5AH

Date: Sat 16 July 2011
Time: 20:00 – 12:00
Entry: Free

SoundFjord has curated an extended evening of
sound and AV work featuring the following artists and their noted works

Audio-VisualWorks

i8u + Cédrick Eymenier
Event Horizon
00:09:33

Mem1
Laura + Mark Cetilia
Aphrosia
00:14:39

Rubedo
Vesna Petresin Robert | Laurent-Paul Robert
Structures in Flux
00:11:08

William Fowler Collins + Claudia X. Valdes
6th Magnitude
00:10:19

 

SoundWorks

Andie Brown
All Cats are Grey by Night
00:10:00

Bug Compass
Miles Allchurch
Sheng
00:04:03

Clinker
Gary James Joynes
Due South (Towards Irricana)
00:09:06

David Kristian + Marie Davidson
Dans La Chaleur
00:06:59

Emilian Gatsov
Second Body
00:10:47

Gastón Arévalo
Intertidal
00:05:06

Graham Dunning
To Look At Her Sinking
00:07:11

Heribert Friedl
raumzitate (room quotations)
00:12:13

Martin Clarke
Tourist
00:07:15

Matthew Sansom
Mêtis
00:42:44

mimosa|moize
Martin J Thompson + Lucia H Chung
3 + 1
00:20:40

Robert Crouch
November
00:07:30

Scant Intone
Desolation Sound
00:06:26

Simon Whetham
A Suspension of Time
00:05:40

Somadrone
Neil O’Connor
Radio Aurora
00:07:19

Steve Roden
Airforms
00:56:14

Sublamp
Ryan Connor
[Untitled]
00:09:31

Thomas Park
Mermaids in New York
00:05:02

Tomas Phillips
Affectueuse/Sublimation
00:15:45

TU M’
Emiliano Romanelli + Rossano Polidoro
Monochrome #7
00:12:35

Wil Bolton
Ulica Kanonicza
00:10:20

Yann Novak
Music for Restaurants
00:20:00

 

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Review – unter den linden – und transit (NVO) 2010 – by thorsten soltau, aeamg

CHRISTOPHE CHARLES / Unter den Linden
I8U / Und Transit
Nonvisualobjects

»Unter Den Linden/Und Transit« beginnt mit einer dreißigminütigen Komposition von Christophe Charles, basierend auf einem Konzert welches er im Studio von Mark Fell (SND) gab. Der Anfang ist mikrotonal einfach gehalten, kurzgeschorene Klangpartikel wirbeln aus dem Mix, ehe Bordun und Paukenschlagähnliche Sounds einsetzen und dem Mikrokosmos mehr Breite und Tiefe geben. Im späteren Verlauf kommen manipulierte Flugzeuggeräusche hinzu, aufgenommen aus der Ferne, die den dünnen Klangstrom überlagern. Das Stück tritt nie auf der Stelle, die teilweise noisigen Sequenzen (clever integriert durch den Einsatz von stetig veränderten Equalizerparametern) interagieren als Brücke für einen gänzlich anderen Fortgang des Stückes. Nach einer Viertelstunde verlässt Charles jedoch die Opulenz der ersten Minuten und verwischt granuliertes Flirren mit maschinenhaften Summen zu einem minimalen Soundtrack, der am Ende in ein älteres Stück von 1987 übergeht, basierend auf dem Klang einer Telefonklingel, einem Silo und einem Abfallwagen, der in seiner klanglichen Naivität durchaus in die Livekomponenten von David Jackman gepasst hätte.
Umseitig bieten i8u 5 Kompositionen, die die deutsche Wocheneinteilung abbilden und mit »Montag« eine frequenzangereicherte Droneexkursion bieten, die sich durch röhrende Schachmuster windet und gleichzeitig exorbitant hohe Sinuswellen verarbeitet, die den Hörgenuß zumindest via Kopfhörer etwas erschweren. Dabei finden sich in den Kompositionen durchaus mikrotonale Zusammenhänge verarbeitet, die sich via Lautsprecher schwer fassen lassen dürften. Während »Dienstag« reduziertes Dröhnen mit Sinusschnipseln bietet, fällt die Zurückgenommenheit am »Donnerstag« ganz: eine tödlich schöne Wolke aus
zerfaserten Klassikpartikeln (GAS lässt grüßen) schwebt über dem sinusoiden
Klanguntergrund, in dessen Verlauf sich weitere minimale Schwebebestandteile einbinden. Während der Tag vorm »Wochenende« sich eher an Mika Vainio’s Installationsklangdichte versucht, ist das tatsächliche »Wochenende« ein sich langsam steigender Mix aus Klavierklängen, Feldaufnahmen und Sinustönen, dessen Opulenz sich jedoch bisweilen bis an den Rand des erträglichen bewegt. Eine nicht ganz unanstrengende Arbeit.

(thorsten soltau, aeamg)

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Review – unter den linden – und transit (NVO) 2010 – by massimo ricci, brain dead eternity

CHRISTOPHE CHARLES / Unter den Linden
I8U / Und Transit
Nonvisualobjects

Admittedly, your reviewer is still far from enlightenment in regard to the generation of Unter Den Linden. Christophe Charles refers to a concert by Mark Fell in 2009 as a “Grundton” for the composition, then specifies that sources recorded in the same year and in 1987 (!) were also used. Then again, there’s a mention of a prior piece called “HCDC”, made after the death of Daniel Charles in 2008, and a hint to Massenet for good measure. These scattered pills of knowledge should not detour the potential audience from the fact that these 30 minutes surely belong in the high ranks of acousmatic music. A masterful sequence of quiet environments and breath-holding atmospheres, ruptured by extraordinary moans of flying airplanes (as loyal readers know very well, I could listen to those sorrow-eliciting sliding drones for the whole extent of my residual life and die happy). Even the most insignificant constituents become essential, including the chugging of various vehicles or the weak signal of a radio. The composer’s insightfulness does the rest, highlighting the existential breathing that perennially underlies silence in the “right” way, creating a world of vacant presences that place the addressee inside their sheer enormity, ultimately reminding us about what “sensible listening” really means.

I8U presents the sonic result of her observation of “a particular passageway in Minoritenplatz” as she was attending an artistic residency in the Austrian city of Krems. For a second time I am left guessing by the liners, which didn’t manage to let me comprehend if that area was subsequently utilized for a quadraphonic installation, or just inspired it. Und Transit – mainly derived from field recordings – stands on its own legs without the environmental component, though. It is largely based on stationary gaseous matters and distinct tones, motionless chords and slightly anguishing impressions depicted by an otherworldly frozen ensemble (except the first movement, which – at the risk of derision – might vaguely recall the “legendary” intro to Pink Floyd’s “Shine On You Crazy Diamond”). One remains enthralled by these stunning suspensions, enhanced by sharp ultrasonic frequencies that successfully divert our attention from the outside world’s remote manifestations while mixing seamlessly with the evening’s crickets. The struggle of this excellent work to prevail over the depression drawn out by the misshapen mazurka echoes coming from the neighbouring hill emphasizes the seriousness of the gap between actively researching human beings and pork-swallowing retards quite effectively. And yet, both sides share this cosmic macrocosm we were thrown in (which, to be honest, is rather degrading). Therefore, play this in utter quietness to appreciate its true worth: the fourth track – “Freitag” – is the decoding key for shaving the hairiest hearts.
massimo ricci, brain dead eternity)

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Review – unter den linden – und transit (NVO) 2010 – by Felix, freistil

CHRISTOPHE CHARLES / Unter den Linden
I8U / Und Transit

Nonvisualobjects

An der Untergrenze der Wahrnehmungsschwelle beginnt dafür die Aufnahme von Christophe Charles, unter den linden (nv°22). Das Stück, das ursprünglich den schönen Titel „Why is there something rather than nothing?“ trug, bezieht seine Umbenennung nicht auf Berlin, sondern auf einen spanischen Lastwagen gleichen Namens sowie auf den Filmtitel „Sous les tilleuls“ von Jules Massenet, der – wie auch dieses Stück gegen das Ende zu – Glockentöne und ihre Veränderung durch Windgeräusche hörbar macht. Komponiert nach dem Tod seines Vaters Daniel Charles, schafft Christophe Charles aus vielen field recordings eine Computermusik in stiller, friedlicher Atmosphäre. Teil zwei dieser 22. nv°-CD entstand während dreier Monate, als i8u, bürgerlich: France Jobin, in Krems/NÖ artist in residence war. Der leere Raum des Minoritenplatzes inspirierte sie zur Quadrophonie-Komposition und transit. Von der Struktur und dem Gestus her ideal zur Arbeit von Christophe Charles passend, öffnet auch die Klanginstallation von i8u ruhige akustische Räume. In Summe zwei wundervolle soundscapes: skulpturale Elektronik an der endlich abgeschafften Grenze zwischen Musik, Architektur und Bildender Kunst.
(felix, freistil)

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Review – unter den linden – und transit (NVO) 2010 – by TJ Norris, Toneshift

CHRISTOPHE CHARLES / Unter den Linden
I8U / Und Transit
Nonvisualobjects

This is one of nonvisualobjects’ three new releases, all of which are collaborations, or split eps, by two artists. Here we have the latest by both Marseille’s Christophe Charles and Canadian sound sculptor i8u respectively. Starting with Charles’ Unter den Linden, a wonderfully atmospheric 30-minute composition which was performed in concert at SND Studios (UK) in early 2009. By using the sounds of wind — and of flying things like planes and birds — the skies are heralded. The above and beyond sounds pay homage to his recently deceased father, Daniel Charles. There’s something of a spirited rumble, though this is quite low-flying and vibratory. A transitional piece that lulls and suspends throughout, like a haunting reminder, or a flickering light at the end of a dark cavernous space that you gravitate towards curiously. Once through you are out on a bustling street, walking through the din of the city. Worlds slowly collide, politely shifting as an ascending craft swallows the scene, leaving behind a semblance of trickling water and whisper.

On Und Transit i8u (France Jobin) paints a restrained world with sine waves by bending elegant sounds, paired with the echoey hollows of a passageway in Lower Austria. During an art residency she found a certain inspiration in the Minoritenplatz, a long corridor towards her studio. Within these sounds of emptiness Jobin recorded a certain reverberation here, a path that shuttles you in secret. The five pieces that comprise the recording are a collection of manipulated field recordings in and around the city of Krems known for its eye-popping riverscapes and historical architecture. Unlike most North American cities contemporary art is integral to the social structure of daily life here. i8u helps draw from daily walks through the city in what may be better described as a micro-encoded mapping of her meanderings. It is on Donnerstag that this becomes most evident on this very elusive work. It lifts gently, opens with an airy drone, rises and glides away.

TJ Norris
toneshift

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Review – unter den linden – und transit (NVO) 2010 – by Frans de Waard, Vital Weekly

unter den linden – Christophe Charles | und transit – i8u on NVO

The second new release is also a split one, this time between I8U and Christophe Charles. He opens up with a piece called ‘Unter Den Linden’ and it uses various sounds of airplanes, telephone bells, a silo and a Spanish garbage truck. It lasts thirty minutes and it takes a while before it unfolds. The processing seems to be minimal here, but you’re never sure then about these sort of things. Its an alright piece of music based on field recordings, but also the best I ever heard in this field. Canada’s I8U has five pieces, which she recorded while doing a 3 months artist residency in Krems, Austria. While walking to the studio, she noticed some particular passageway at the Minoritenplatz, which seemed ‘lonely’, ignored by those who used it. She collected field recordings around the small city of Krems and did a four channel installation based on the emptiness of the passageway. These five pieces are typical of the current interests of I8U: high pitched sine waves, but not high involume, and down on the ground there are bits of low end sound. Field recordings are hard to recognize here, if at all. Here too I have the idea that I am listening to something that is actually quite good, but also not very surprising. It might be due to the fact that I8U uses a too similar approach to treating her sounds. The outcome, in both cases is however nice enough.

(FdW) Vital Weekly

nonvisualobjects

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und transit on NVO 022 (2010)

NVO 022 christophe charles / i8u
unter den linden / und transit
on nonvisuelobjects

unter den linden

The “Grundton” of this 30-minute composition is the recording of the concert given at SND STUDIOS SHEFFIELD (UK) in March 2009, entitled “Why is there something rather than nothing?” by Mark Fell and powered with d&b speakers by Tony Myatt (MRC, University of York). The sounds of planes have been recorded in Mallorca (Spain) in 1987, and in Pilat (France) in 2009. This music comes after HCDC, composed in November 2008 after the death of Daniel Charles – his last days were darkened by breathing difficulties, hence the overall presence of the “wind”. The last five minutes were composed in 1987 with telephone bells, a silo and a Spanish garbage truck, under the name “unter den linden”. The piece is not related with Berlin, but with Jules Massenet’s “Sous les tilleuls” (from “Scenes alsaciennes” where bells are heard in a distance and thus modified by the wind), and evokes a peaceful atmosphere just before the bombs begin to fall.

Christophe Charles, September 2009

—
This world of ours is one relative world. Any number of other possible or actual worlds are conceivable. Each such world is able to reflect all the others without ceasing
to be the real world that it is of itself.

Nishitani Keiji

und transit

The conceptual framework of “und transit” was conceived while taking part in a 3 months artist residency in Krems, Austria (2008/09). While in transit (daily walks) to my studio, I was inspired by a particular passageway in Minoritenplatz.
Like most passageways, which are a means to an end – and are rarely treated as an end in itself – I was immediately struck by the loneliness and practicality of this space as well as the capacity of the users to ignore it on a daily basis. During the course of my residency I collected a number of field recordings in and around Krems, in order to create a series of soundscapes based on Minoritenplatz’s sound of emptiness through the means of a quadraphonic installation.
These compositions represent some of the pieces composed for “und transit”.

i8u (France Jobin)

—
Follow your bliss.

Joseph Campell

+

NVO 021
Tim Blechmann / Seijiro Murayama
347
NVO 023
asher / fourm
selected passages / set.grey
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London UK 03.12.2010 – framework

March.14 & 16.10

This sunday on Framework  resonance.fm : “these are few of my favorite things”  by i8u

/*framework* / – phonography / field recording;
contextual and decontextualized sound activity
presented by patrick mcginley

*framework*/ broadcasts:
sunday, 10pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
tuesday, 2pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
wednesday, 12am, thessaloniki, gr on cooradio (http://www.cooradio.com)
wednesday, 3am, lisbon, pt on radio zero (http://www.radiozero.pt)
thursday, 7pm, lisbon, pt on radio zero (http://www.radiozero.pt)
friday, 1am, brussels, be on radio campus 92.1fm (http://www.radiocampusbruxelles.org)
saturday, 5pm, south devon, uk on soundartradio 102.5fm (http://www.soundartradio.org.uk)

Framework – i8u – my favorite things (Installment #4)

As mentioned in earlier installments, my interpretation of field recording based works, is very broad however, the thread I like to follow is to find artists who have mastered their unique identity through the music of sound.

This is the 2nd part of “my favorite things” devoted to nvo. The label is nvo, non visual objects, was founded in 2005 by Heribert Friedl and Raphael Moser. In 2007, nvo released : Extract, Portraits of Soundartists, a book and 2 cd’s.

The next hour will be devoted to the 2nd cd’s issued as well as excerpts from the book.
Playlist + additional info below

Playlist + additional info below

Tracks Artists & Websites

1. (hole in a heap), Roel Meelkop – r0m.nl/
2. Split chance ,  Will Montgomery – selvageflame.com
3. Each More Melodious Note , To, Jos Smolders – jossmolder.nl
6. Parallel,  Steinbrüchel – synchron.ch
7. Nature Out,  Nao Sugimoto (mondii) – spekk.net
8. Vierte Beisetzung in Wien, Asmus Tietchens – tietchens.de
9. Scenery of vibration/Listening to the reflection of points, Toshiya Tsunoda – toshiyatsunoda.com
10. Lux Vivens, Ubeboet – con-v.org
11. Geste,  Michael Vorfeld – vorfeld.org

Additional info:

Extract -Portraits of Soundartists nvo 011 (2007)

Introduction

Since we started the label Nonvisualobjects two years ago, many collaborations with artists worldwide have arisen, a large, growing network has evolved and an extensive body of work has been formed that we would like to explore and try to sum up. The book developed from the idea of presenting an extract of artists involved in the current experimental electro-acoustic music scene, often following a rather reduced approach in their work. We would like to present artists that work in different areas in this field of electro-acoustic music, to cover a large spectrum even in this quite specific area.

With essays, interviews, photos, drawings and other materials presented in this book, we try to look at the motivation and intention behind the sound production from different perspectives, to possibly allow for a new/extended approach to this form of music. Many of the artists involved in this project do not exclusively work with sound, but also in other artistic disciplines. In this book we would like to present these other sides of their work to allow crossreferences/crosslinks to open up new aspects of the music.

The chapters consist of collage-like contributions. Images and text should not necessarily be regarded as complete units, but are open to various possibilites of interpretation.

It was not our intention to present a discourse in theories of art and music. It was also not our wish to present a curated work on a specific topic. Instead we wanted to show very personal portraits created by the artists themselves, which describe their way of working, the methodology of their sound production and which also portray the artist’s physical and not only their intellectual environment – where one lives, things of everyday life, things of interest and inspiration.

In the fast moving times of the digital era, it was also our wish to, at least partly, hold on to an analogue medium. Should the inevitable decay of digitally stored media ever lead to the disappearance of much of contemporary art and culture, the possibility to refer to this book would still remain.

Heribert Friedl, Raphael Moser

nonvisualobjects.com

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*for general info, playlists, podcasts, or to stream the latest edition

at any time: http://www.frameworkradio.net
<http://www.resonancefm.com/framework>*

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RESONANCE FM’S PROGRAMMING IS PRODUCED ENTIRELY BY VOLUNTEERS; PLEASE HELP US TO CONTINUE BY MAKING A DONATION.  CHECK OUT OUR WEBSITE TO FIND OUT HOW YOU CAN HELP KEEP RESONANCE ON THE AIR: HTTP://WWW.RESONANCEFM.COM.  THANK YOU!

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South Devon UK 01.23.2010 – framework

January 23.10

This sunday on Framework  resonance.fm : “these are few of my favorite things”  by i8u
/*framework* / – phonography / field recording;
contextual and decontextualized sound activity
presented by patrick mcginley

*framework*/ broadcasts:
sunday, 10pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
tuesday, 2pm, london, uk on resonance 104.4fm (http://www.resonancefm.com)
wednesday, 12am, thessaloniki, gr on cooradio (http://www.cooradio.com)
wednesday, 3am, lisbon, pt on radio zero (http://www.radiozero.pt)
thursday, 7pm, lisbon, pt on radio zero (http://www.radiozero.pt)
friday, 1am, brussels, be on radio campus 92.1fm (http://www.radiocampusbruxelles.org)
saturday, 5pm, south devon, uk on soundartradio 102.5fm (http://www.soundartradio.org.uk)

Framework – i8u – my favorite things (Installment #3)

As mentioned in earlier installments, my interpretation of field recording based work is very broad, however, the thread I like to follow is to find artists who have mastered their unique identity through the music of sound.

For the next two editions of “my favorite things”, i will focus on a particular label based in Vienna. The label is nvo, non visual objects and it was founded in 2005 by Heribert Friedl and Raphael Moser. In 2007, nvo released : Extract, Portraits of Soundartists, a book and 2 cd’s.
The next hour will be devoted to the 1st cd’s issued as well as excerpts from the book.

Playlist + additional info below

Tracks Artists & Websites

1. Fingers pointing at the moon, Keith Berry – twoinchesofftheground.com
2. A field for recordings 2,  Richard Chartier – 3particles.com
3. Live in Osaka, Taylor Deupreee – 12k.com
4. nbvto, Heribert Friedl – nonvisualobjects.com
5. Précis,  Richard Garet – richardgaret.com
6. Microclimates for Paliku, Andy Graydon – andygraydon.net
7. Listen to what you see,  Bernhard Günter – trenteoiseaux.de
8. Radio, John Hudak – johnhudak.net
9. In Absentia , Dean King – etoami.com
10. Provisional,  Dale Lloyd – and-oar.org

Additional info:

Extract -Portraits of Soundartists nvo 011 (2007)

Introduction

Since we started the label Nonvisualobjects two years ago, many collaborations with artists worldwide have arisen, a large, growing network has evolved and an extensive body of work has been formed that we would like to explore and try to sum up. The book developed from the idea of presenting an extract of artists involved in the current experimental electro-acoustic music scene, often following a rather reduced approach in their work. We would like to present artists that work in different areas in this field of electro-acoustic music, to cover a large spectrum even in this quite specific area.

With essays, interviews, photos, drawings and other materials presented in this book, we try to look at the motivation and intention behind the sound production from different perspectives, to possibly allow for a new/extended approach to this form of music. Many of the artists involved in this project do not exclusively work with sound, but also in other artistic disciplines. In this book we would like to present these other sides of their work to allow crossreferences/crosslinks to open up new aspects of the music.

The chapters consist of collage-like contributions. Images and text should not necessarily be regarded as complete units, but are open to various possibilites of interpretation.

It was not our intention to present a discourse in theories of art and music. It was also not our wish to present a curated work on a specific topic. Instead we wanted to show very personal portraits created by the artists themselves, which describe their way of working, the methodology of their sound production and which also portray the artist’s physical and not only their intellectual environment – where one lives, things of everyday life, things of interest and inspiration.

In the fast moving times of the digital era, it was also our wish to, at least partly, hold on to an analogue medium. Should the inevitable decay of digitally stored media ever lead to the disappearance of much of contemporary art and culture, the possibility to refer to this book would still remain.

Heribert Friedl, Raphael Moser

nonvisualobjects.com

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your subscriptions & donations help make the production of framework possible. visit out website to find out how to become a regular donor, or make a one-time donation here: http://www.murmerings.com/donate.html. 25% of all donations go to resonancefm, without whom framework would not exist. (if you would like to donate directly to resonancefm please visit their support page here: http://www.resonancefm.com/support.)

PLUS, IN CELEBRATION OF FRAMEWORK’S 250TH EDITION, DONATE €25 OR MORE AND RECEIVE ONE OF THE FRAMEWORK250 2CD COMPILATIONS, OR €40 OR MORE AND RECEIVE BOTH!