“Interstitial Articulations: Reflections on Audiovisual Collaborative Practice”
Alison Clifford/ Graeme Truslove
Paper/ artwork presentation at the 14th International Generative Art Conference in CRUI, Frescos Hall, Rome, 2011
More info:
http://www.generativeart.com
“Palimpsest” – audiovisual collaboration with composer Graeme Truslove - is screening at the second edition of the “Seeing Sound” practice-led research symposium at the Centre for Musical Research at Bath Spa University on the 29th/ 30th October. The organisers write:
the event “foregrounds the relationship between sound and image” … this year’s edition “…will explore areas such as visual music, abstract cinema, experimental animation, audiovisual performance and installation work through paper sessions, screenings and performances.”
For further information or to view the programme please visit: http://www.seeingsound.co.uk
“Palimpsest” is a new audiovisual work commissioned by digital poet/ author Brian Stefans for SFMOMA. It forms part of his “Third Hand Plays” collection on electronic literature at SFMOMA’s Open Space blog. The piece is the second in a series of collaborations with composer Graeme Truslove exploring relationships between sound and image.
The series is based around reinterpretations of photographic light paintings in different contexts, investigating notions of the interstitial (or the space in-between things). “Palimpsest” re-imagines these ethereal light forms as physical objects modelled in 3D space as a virtual light sculpture. Sonic events then determine alternative paths and perspectives around the sculpture, rewriting our experience of it with each repetition of the audio.
“Substratum” – audiovisual collaboration with Graeme Truslove – is screening at the Hypersonica event at FIESP Cultural Centre, Sao Paulo as part of FILE 2011 (International Electronic Language Festival).
Hypersonica:
“…emphasizes musical, sonic, visual and performatic manifestations of electronic art. Selected screenings “exhibit audiovisual pieces which use digital means of production, such as visual music, animations and music videos.
In this edition, FILE Hypersonica presents, on July 19-22 from 8 pm at SESI-SP Theater, 4 nights of electronic sound experiments with 7 national and international artists who create new musical parameters.”
“The Sweet Old Etcetera” is one of the works featured in the Cibermuestra at “Soledades 2.0. No Moderno Artificio“ part of “Cosmopoetica 2011“ (Cordoba, Spain). Soledades 2.0 celebrates the 450th anniversary of Luis de Góngora, a 17th Century Cordoban baroque poet. “Soledades 2.0″ aims to connect the innovations that Góngora brought to the poetic discourse of the 17th century with the current tools that technology is now contributing to poetic creation.
The exhibition and symposium is on the 24, 25, 26 March in The Pepe Espaliú Art Centre, Cordoba.
“The Sweet Old Etcetera” is featured in the recently released Electronic Literature Collection vol. 2.
The new collection includes 63 works drawn from (and extending beyond):
Further information on the collection is available at the Electronic Literature Organization.
“Letters in Space, at Play” (2011) by Scott Rettberg is an article discussing works of kinetic poetry published in the Electronic Literature Collection vol. 2 (including “The Sweet Old Etcetera”). The article contextualises contemporary works of kinetic poetry with the work of earlier artists and poets such as: Len Lye, Stéphane Mallarmé and F.T. Marinetti.
Rettberg writes:
… the recent trends in electronic literature, towards the production of works that feature letters moving in space, often synchronized to a musical soundtrack, is not precisely a novel phenomena, but something that writers and artists have been experimenting with to some degree since the dawn of moving image technology.
“Substratum” – an audiovisual installation created in collaboration with composer Graeme Truslove – is to be exhibited at Sound Thought 2011. Sound Thought is a festival or “mould-breaking music, sound and performance research” organised by postgraduate students at the University of Glasgow and The Arches.
Note from the organisers:
Sound Thought is three days of interdisciplinary performances, installations, compositions, presentations and provocations all considering ‘music as action across distance’.
Everything from Leona Lewis dueting with a toilet, to piercing the silence of the library, first performances by the most exciting new string quartet in the country, and innovative installations using lasers to play mushrooms, and stethoscopes to play your heart…
This year’s event includes diverse and groundbreaking work from celebrated composers, visual artists, dancers, contemporary theatre practitioners and film makers alongside a massive programme of intriguing multimedia presentations, discussions and workshops focussed on music and sound in performance.
Sound Thought is an opportunity to bring new music, research and performance work to a wider audience and to establish a hub for the dialogues already existent in sound work – across disciplines, between genres and way beyond expectations…
I am delivering a presentation on “Substratum” at the 2010 edition of the International Conference on Generative Art at the Politecnico di Milano University in Milan.
Conference Chair Celestino Soddu writes:
Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations.
Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician.This generative Idea / human-creative-act make an unpredictable, amazing and endless expansion of human creativity. Computers are simply the tools for its storage in memory and execution.
This approach opens a new era in Art, Design and Composition: the challenge of a new naturalness of the artificial event as a mirror of Nature. Variations, like in Bach music, are the best strong communication of the Idea. Once more man emulates Nature, as in the act of making Art.
This approach suddenly opened the possibility to rediscover possible fields of human creativity that would be unthinkable without computer tools. If these tools, at the beginning of the computer era, seemed to extinguish the human creativity, today, with generative tools, directly operates on codes of Harmony and on codes of Identity. They become tools that open new fields and enhance our understanding of creativity as an indissoluble synthesis between art and science.
After two hundred years of the old industrial era of necessarily cloned objects, music, architectures, communications the one-of-a-kind object becomes an essential answer to emergent contemporary aesthetical needs.
Celestino Soddu, chairman of Generative Art Conferences, director of Generative Design lab of Politecnico di Milano University
The abstract can be downloaded here.
“The Sweet Old Etcetera” is included in “Alt-w: New Directions in Scottish Digital Culture” – an exhibition at the CCA in Glasgow running from the 2nd August – 13th September 2008. The exhibition presents a selection of work from Scottish based artists whose practice has been supported by the Alt-w Fund. These works have been brought together for the first time in an interactive exhibition curated by New Media Scotland in collaboration with CCA.
About the Alt-W fund:
The fund strongly encourages applicants to explore experimental and interactive practice, make use of technology as both platform and medium, and recognise the changing role that digital culture has in our society.
