At an exhibition of Elisabeth Penker's work at the HTTP Gallery, she presented a sound installation and performed on a geometric wooden instrument. Her work explores rhythm and musicality through rearranging phonetic units of language. Her sound installation breaks down the words "Die Bildhauerin" into linguistic elements to form a minimal composition. On opening night, she performed on her Sonic Structure instrument, which amplifies any sounds made on its wooden surface through microphones. Her work is inspired by experiments with noise and sound by early 20th century artists like Luigi Russolo.
Blending science and fiction, we reconstruct the soundscape of the mythical wilds where extinct bird species live and sing. The images of extinct birds we found are sonified (“voiced”) by a neural network, which has its own ideas about how birds sing.
The sounds are heard in the darkness, which is a collection of all possible options for what the forest might have looked like when all these birds still lived on earth, or what it might look like in a hypothetical future, when we can forever forget how the birds sang.
Mobile Scores and Click-tracks: teaching old dogs (2010) Lindsay Vickerylindsayvickery
This paper reconsiders the paper score as a medium for presentation of mobile score works. The precedents leading to the development of mobile form in music are discussed. The form and modes of realisation of a range of works by Earle Brown, Karlheinz Stockhausen, Iannis Xenakis, John Zorn, Mauricio Kagel, Charles Ives and Denis Smalley are examined. The potential for computers to provide a more ‘natural’ medium for mobile scores is explored.
A number of computer-based solutions to the realisation of mobile scores are proposed in regard to: the single page mobile score, the multi-page mobile score, the mobile graphical score, the polytempo score and works that include pre-recorded sound and/or live electronics. Solutions including the on-screen scrolling score, the on- screen timer, the computer controlled click-track and networked multiple computers are proposed. The potential to control musical parameters such as formal structure, tempo, meter and dynamics are explored, as well as the ability to represent “free” pitch and rhythm.
Course Reader Reading #3 What is Design .docxmarilucorr
Course Reader: Reading #3
What is Design?
Excerpts from:
Adolph Appia, Lee Simon (from: “The Ideas of Adolphe Appia”),
Robert Edmund Jones, Leonard Pronko,
and Gaston Bachelard
Intro to Theater: What is Design? Page #1
Intro to Theater: What is Design? Page #1
r;;e: The American
s: 145-155.
Harry N. Abrams
~
Chapter 3
Adolph Appia
ACTOR, SPACE, LIGHT,
PAINTING
T HE ART OF STAGE PRODUCTION is the art of projecting into Space what the original author was only able to project in
Time. The temporal element is implicit within any text, with or
without music . . . The first factor in staging is the interpreter: the
actor himself. The actor carries the action. Without him there can
be no action and hence no drama ... The body is alive, mobile and
plastic; it exists in three dimensions. Space and the objects used
by the body must most carefully take this fact into account. The
overall arrangement of the setting comes just after the actor in
importance; it is through it that the actor makes contact with and
assumes reality within the scenic space.
Thus we already have two essential elements: the actor and
the spatial arrangement of the setting, which must conform to his
plastic form and his three-dimensionality.
What else is there?
Light!
Light, just like the actor, must become active; and in order to
grant to it the status of a medium of dramatic expression it must
be placed in the service of ... the actor who is above it in the
production hierarchy, and in the service of the dramatic and plastic
expression of the actor.
... Light has an almost miraculous flexibility . . . it can cre
ate shadows, make them living, and spread the harmony of their
vibrations in space just as music does. In light we possess a most
powerful means of expression through space, if this space is placed
in the service of the actor.
29
Intro to Theater: What is Design? Page #2
Intro to Theater: What is Design? Page #2
ACTOR, SPACE, LIGHT, PAINTING
So here we have our nonnal established hierarchy: ,
the actor presenting the drama;
space in three dimensions, in the service of the actor's plastic fonn;
liBht giving life to each.
But as you have inferred, there is a but what about painting? What do we
understand about painting in terms of scenic art?
A collection of painted backcloths and flats arranged vertically on the stage,
more or less parallel to one another, and extending upstage. These are covered
with painted light, painted shadow, painted fonns, objects and architecture; all of
it, of course, on a flat surface since that is the nature of painting ...
Our staging practice has reversed the hierarchical order: on the pretext of
providing us with elements which are difficult or impossible to realize in solid
form, it has developed painted decor to an absurd degree, and disgracefully
subordinated the living body of the actor to it. Thus light illuminates the b.
Increasing the mobility of Stockhausen’s Mobile Scores (2010) Lindsay ...lindsayvickery
Increasing the mobility of Stockhausen’s Mobile Scores
Stockhausen compositions pioneered a wide range of the innovatve techniques that have come to be associate d with the Avant Garde Period. In the exploration of formal structure and the means of presenting work to performers via novel media, Stockhausen was one of the key contributors during this time.
These innovations included:
• The “mobile” score
• The “transformative” score
• Intuitive music
Despite the fact that Stockhausen lived well into the first decade of the 21st century, all of his works rely on the traditional notion of a printed paper score.
This discussion explores the technical and practical possibilities of adapting the innovative printed scores by Stockhausen through the use of computer technology. The technological recasting of these works is considered in light of Stockhausen’s own aesthetic statements concerning the necessity to comprehend the “uniqueness” of works which were born to a particular historical moment.
Blending science and fiction, we reconstruct the soundscape of the mythical wilds where extinct bird species live and sing. The images of extinct birds we found are sonified (“voiced”) by a neural network, which has its own ideas about how birds sing.
The sounds are heard in the darkness, which is a collection of all possible options for what the forest might have looked like when all these birds still lived on earth, or what it might look like in a hypothetical future, when we can forever forget how the birds sang.
Mobile Scores and Click-tracks: teaching old dogs (2010) Lindsay Vickerylindsayvickery
This paper reconsiders the paper score as a medium for presentation of mobile score works. The precedents leading to the development of mobile form in music are discussed. The form and modes of realisation of a range of works by Earle Brown, Karlheinz Stockhausen, Iannis Xenakis, John Zorn, Mauricio Kagel, Charles Ives and Denis Smalley are examined. The potential for computers to provide a more ‘natural’ medium for mobile scores is explored.
A number of computer-based solutions to the realisation of mobile scores are proposed in regard to: the single page mobile score, the multi-page mobile score, the mobile graphical score, the polytempo score and works that include pre-recorded sound and/or live electronics. Solutions including the on-screen scrolling score, the on- screen timer, the computer controlled click-track and networked multiple computers are proposed. The potential to control musical parameters such as formal structure, tempo, meter and dynamics are explored, as well as the ability to represent “free” pitch and rhythm.
Course Reader Reading #3 What is Design .docxmarilucorr
Course Reader: Reading #3
What is Design?
Excerpts from:
Adolph Appia, Lee Simon (from: “The Ideas of Adolphe Appia”),
Robert Edmund Jones, Leonard Pronko,
and Gaston Bachelard
Intro to Theater: What is Design? Page #1
Intro to Theater: What is Design? Page #1
r;;e: The American
s: 145-155.
Harry N. Abrams
~
Chapter 3
Adolph Appia
ACTOR, SPACE, LIGHT,
PAINTING
T HE ART OF STAGE PRODUCTION is the art of projecting into Space what the original author was only able to project in
Time. The temporal element is implicit within any text, with or
without music . . . The first factor in staging is the interpreter: the
actor himself. The actor carries the action. Without him there can
be no action and hence no drama ... The body is alive, mobile and
plastic; it exists in three dimensions. Space and the objects used
by the body must most carefully take this fact into account. The
overall arrangement of the setting comes just after the actor in
importance; it is through it that the actor makes contact with and
assumes reality within the scenic space.
Thus we already have two essential elements: the actor and
the spatial arrangement of the setting, which must conform to his
plastic form and his three-dimensionality.
What else is there?
Light!
Light, just like the actor, must become active; and in order to
grant to it the status of a medium of dramatic expression it must
be placed in the service of ... the actor who is above it in the
production hierarchy, and in the service of the dramatic and plastic
expression of the actor.
... Light has an almost miraculous flexibility . . . it can cre
ate shadows, make them living, and spread the harmony of their
vibrations in space just as music does. In light we possess a most
powerful means of expression through space, if this space is placed
in the service of the actor.
29
Intro to Theater: What is Design? Page #2
Intro to Theater: What is Design? Page #2
ACTOR, SPACE, LIGHT, PAINTING
So here we have our nonnal established hierarchy: ,
the actor presenting the drama;
space in three dimensions, in the service of the actor's plastic fonn;
liBht giving life to each.
But as you have inferred, there is a but what about painting? What do we
understand about painting in terms of scenic art?
A collection of painted backcloths and flats arranged vertically on the stage,
more or less parallel to one another, and extending upstage. These are covered
with painted light, painted shadow, painted fonns, objects and architecture; all of
it, of course, on a flat surface since that is the nature of painting ...
Our staging practice has reversed the hierarchical order: on the pretext of
providing us with elements which are difficult or impossible to realize in solid
form, it has developed painted decor to an absurd degree, and disgracefully
subordinated the living body of the actor to it. Thus light illuminates the b.
Increasing the mobility of Stockhausen’s Mobile Scores (2010) Lindsay ...lindsayvickery
Increasing the mobility of Stockhausen’s Mobile Scores
Stockhausen compositions pioneered a wide range of the innovatve techniques that have come to be associate d with the Avant Garde Period. In the exploration of formal structure and the means of presenting work to performers via novel media, Stockhausen was one of the key contributors during this time.
These innovations included:
• The “mobile” score
• The “transformative” score
• Intuitive music
Despite the fact that Stockhausen lived well into the first decade of the 21st century, all of his works rely on the traditional notion of a printed paper score.
This discussion explores the technical and practical possibilities of adapting the innovative printed scores by Stockhausen through the use of computer technology. The technological recasting of these works is considered in light of Stockhausen’s own aesthetic statements concerning the necessity to comprehend the “uniqueness” of works which were born to a particular historical moment.
Contact situation language and rhythm transformation
Untitled instrument kunsthaus graz
1. Elisabeth Penker
Bei der Eröffnung von "Protections" wird Penker auf ihrem "Sonic Structure" genannten Instrument, das in die
Choreographie der Klanginstallation "Die Bildhauerin" eingebettet ist, live spielen. Das Instrument hat eine
vage Ähnlichkeit mit einem Keyboard und ist aus Holz und industriellen Materialien gefertigt. Alle Klänge, die
auf dieser Konstruktion erzeugt werden, werden mithilfe einer Reihe von in unterschiedlicher Höhe montierten
Mikrofonen verstärkt, wodurch es der Künstlerin ermöglicht wird, Musik zu machen. Ihre Würdigung von Luigi
Russolos "The Art of Noise" und Jack Foley’s Aufnahmemethoden für Filmsoundtracks ermöglicht ihr, ein
Vokabular für Rhythmus und sprachliche Transformationen zu finden. Mithilfe eines Orchesters, das, obwohl
es nur aus aus industriellen Materialien gefertigten Instrumenten besteht, in der Lage ist, jene Kräfte
einzubinden, die in die differenzierteste Klangstruktur überhaupt – die Sprache – eingebettet sind, gelingt
Penker eine geglückte Neuformulierung der alten Formel der Avantgarde.
Adam Budak
Installation view: Elisabeth Penker „(Untitled) Instrument”
“Protections: This is not an exhibition”, Kunsthaus Graz 2006
2. Elisabeth Penker
At the opening for "Protections" Penker will play live on her instrument entitled "Sonic Structure" which is
choreographed within the sound piece "Die Bildhauerin (The Sculptor [fem.])". The instrument vaguely resembles a
keyboard, made of wood and industrial materials, any sounds made on this structure are amplified by means of a
number of microphones set at different heights that allows the artist to produce music. By acknowledging Luigi
Russolo's "The Art of Noise" and Jack Foley’s recording methods for film, allows her to find a vocabulary for rhythm
and language transformations. Penker successfully rephrases the old avant-garde formula through an orchestra that,
although organized with instruments made of industrial materials, is able to involve those forces embedded within
the most sophisticated sonic structure of all - linguistics.
Text: Adam Budak
Installation view: Elisabeth Penker „(Untitled) Instrument”
“Protections: This is not an exhibition”, Kunsthaus Graz (background: Elmgreen & Dragset)
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CURRENT PICKS
LAST MONTH'S
PICKS
Elisabeth Penker
HTTP GALLERY
71 Ashfield Road
May 10–June 15
For the past few years, Austrian artist Elisabeth Penker
has been exploring the spatial dynamics that occur in the
relation between objects and sound. In her solo show at
this not-for-profit space consecrated to "technologically
termed praxis," she investigates rhythm and musicality by
New York
· Aïda Ruilova
· Julie Mehretu rearranging phonetic units in a process inspired by First
Nation languages. With the multichannel sound installation
· Ian Cooper
Die Bildhauerin (The Sculptress), 2005, the artist breaks
· Jack Goldstein
the grammatical structure of the title words into units, or Sonic Structure (portable
· Matthew instrument), 2005.
"morphemes," which become the basis of a minimal
Buckingham and
Joachim Koester
composition that resonates in and shapes the surrounding
space. Backed by pre-recorded vocals and the echoing
· Neo Rauch
sound of two stonemasons chiselling into a wall, Penker's
· Katarina Burin
performance on the show's opening night took place on
· Joan Mitchell Sonic Structure (portable instrument), 2005, a geometric
construction vaguely resembling a keyboard, made of
wood and covered with industrial flooring. Any sounds
made on this structure are amplified by means of a
London
· Elisabeth
Penker number of microphones set at different heights that allow
any performer to produce music with wooden blocks and
sandpaper. Having examined Luigi Russolo's "Futurist
Manifesto" of 1912 and, in particular, his experiments with
Berlin
· Susanne
Paesler noise, Penker successfully rephrases the old avant-garde
formula through an orchestra that, although organized with
· Anselm Reyle
instruments made of industrial materials, is able to involve
those forces embedded within the most sophisticated
Milan sonic structure of all—linguistics.
· Urs Fischer
· Christian
Boltanski
—Diana Baldon
TALK BACK (9 messages) E-MAIL PRINT
Vienna
· Karin Frank
< New York | London | Berlin >
Shanghai Current Picks
· Sookoon Ang
and Susanne
Winterling
Elsewhere
· Sharjah Biennial
7