Category: Sound Installation


Johanna Sulalampi: Kuroma – keraamisia ääniveistoksia

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13 April 2023

Johanna Sulalampi
Kuroma – keraamisia ääniveistoksia

Ma–Pe  17.–21.4.2023, klo 14-18.

Kuroma on keraamisten ääniveistosten kokoelma, joka on syntynyt huomion reunamilta purskahtelevien ja hiljaisesti vaikuttavien inhimillisten ja ei inhimillisten toimijoiden hallitsemassa toimintaympärisössä. Pienhiukkaset, jäkälät, roiskeet, traumat, punajuurikroketit, lämpötila, kohtaamattomuus, ilmankosteus, R-juna, pelko tulevaisuudesta, astma, sosiaalinen hämmennys, ironia, unettomuus, merkityksensä menettäneet äänimerkit sekä pintojen heijastukset ovat suodattuneet yli ja ali virittyneen ihmisen hermoston ja elimien lävitse ääneksi ja keramiikaksi.
* * *
Tekijäänsä Johanna Sulalampea inspiroivat äänessä olemattomien olentojen
äänet, kollaasit ja maskit, äänen ruumiin tilalliset muodonmuutokset sekä synestesia. Veistokset muotoutuivat toiveista löytää äänelle kulkureittejä, sijainteja ja suhteita toisiinsa, sekä mielenkiinnosta tarkastella äänen liikkeen ja visuaalisen impulssin aikaansaamia psykoakustisia vaikutelmia. Saven keramiikaksi aikaan jähmettyneet kehot muodostavat onteloita äänelle elää ja pesiä. Veistokset kätkevät sisälleen 24-kanavaisen ambisonisuutta hyödyntävän äänijärjestelmän.
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Sarah Badr: Azimuth

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24 August 2022

AZIMUTH
Sarah Badr

Sat-Sat  10. – 17.9.2022

Opening times: Sat-Sun 12-16, Mon-Fri 14-18.

“Azimuth is an immersive biomorphic model of the entangled orders of simulation. It is a
reflection of a basic natural reality while masking basic reality — the idea of nature.”

The exhibition is part of the Envelope Festival for Immersive Sound, 10.9. – 29.10.2022.

In Azimuth, audiovisual artist Sarah Badr channels a tension between organic and synthetic forms, digitally rendering pulsating alien objects and shimmering surfaces that change and transform in a responsive, symbiotic relationship with the tactile sounds she corrals into the intricate texture of her compositions.

   Resolutely synaesthetic, Azimuth oscillates between the recognizable and the impossible, a dichotomy that is suggested in the work’s title. An azimuth, in geometry, is an angular measurement in a spherical coordinate system commonly referenced in the field of immersive sound.

   When applied in astrology and used as a celestial coordinate, an azimuth is the horizontal direction of a star, or other astronomical object. In one sense the title, and the work, is functional, referring to a unit of measurement. But when applied to the world around us, it becomes ontological — a marker for locating an object in physical, or artificial, space.

Sarah Badr is a British-Egyptian artist living in Riga. Her practice focuses on world creation, complex natural phenomena, and algorithmic media. Building procedural systems for simulation and spatialisation in graphics and sound allows her to explore the association between form and place in new digital spaces. Her work involves various manifestations of the digital experience: video, 3D sculpture and animation, augmented photography, audiovisual performance, installation, and immersive sound for physical and virtual environments. A classically trained multi-instrumentalist and composer, she produces solo experimental works under the project name FRKTL. Website: sarahbadr.com

The Azimuth exhibition is part of the Envelope Festival for Immersive Sound. A series of events will take place across the Nordic-Baltic region, in person and online, from September 10th until October 29th. The festival hosts spatial music concerts, sound art installations, seminars, and workshops by Nordic-Baltic artists. Exploring the future of audio technologies, Envelope is a creative collaboration between artists and organisations from Finland, Norway, Denmark, Latvia, Estonia, and Lithuania. Website: envelopefestival.com (opening soon)

Azimuth was shown as part of ‘Listening To The Anthropocene’, a group show at Coventry
Cathedral, which was part of the 2021 Coventry Biennial, in Herbert Art Gallery & Museum, UK.

Supported by Nordisk Kulturfond, State Culture Capital Foundation (SCCF) and others.

 

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Performance Protocols Nordic Sessions #3: Soundings

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8 September 2021

Performance Protocols

Nordic Sessions #3: Soundings

Sound Performances by Ana Gutieszca, Petri Kuljuntausta, Tero Nauha, Eva Sjuve, Timo Viialainen.

September 22-23, 2021 at 18:00 – 21:00.

-Free Entry-

Curated by Tina Mariane Krogh Madsen.

Wednesday 22.9 at 18:00-21:00: Performance night I (SOLD OUT!)

EVA SJUVE (activated score): Krispr (Spatialized)

TERO NAUHA: TBA (a work for prepared theremin)

TIMO VIIALAINEN: What did you do as a child when the thunder cut the power?

Thursday 23.9 at 18:00-21:00: Performance night II (*reservation required, see info below).

EVA SJUVE (activated score): Krispr (Spatialized)

ANA GUTIESZCA: Insecta

PETRI KULJUNTAUSTA: Sonification of an Organic Growth

REGISTRATION INFO

— To Book Access to the Show: Send us your name, contact information and the event date you want to attend: info@performance-protocols.net.

Please note, your reservation is not confirmed until you have received a confirmation email back from us! If you have reserved a spot for a performance and can not come, please notify us so we can give the spot to next one on our waiting list!

— Please only come to the events if you are feeling healthy and don’t have any flu symptoms. Please wear a face mask in all indoor areas.

Performance Protocols Nordic Sessions # 3: Soundings

The first part of performance protocols Nordic Sessions # 3 will be held in Helsinki from September 18.-27. 2021. The topic for this edition is soundings in performance and includes different ways to use sound as a tool, material, and theme, spanning from music compositions to performance art exploring a conceptual use of sound. This frames both amplified and non-amplified sound, performances in public space, and active listening exercises. The events will take place in the art spaces Third Space (exhibition and performance sessions) and Akusmata (performance program), and outside in public space – a park and a mall.

On September 22 and 23 in Akusmata will be sound performances performed by the artists Ana Gutieszca (MX/FI), Petri Kuljuntausta (FI), Tero Nauha (FI), and Timo Viialainen (FI). Additionally, each event will begin with the activation of a score created by artist Eva Sjuve. All of the performed works evolve around different means of soundings, from animal sounds, thunder, self-containing systems, and crisp bread. Their scores (or an iteration thereof) will be shown in the performance protocols score exhibition held in Third Space, which contains all participating artists in the Helsinki events (full list of artist can be found in the program below and online). The exhibition opens on September 18. and closes on September 27.

The full program with times, locations, and work descriptions can be found on the performance protocols website: http://performance-protocols.net/Helsinki2021/Helsinki.html

About Performance Protocols

Performance Protocols is a nomadic platform for instruction-based performance art and collaborative practices which opened its first online exhibition Walking Protocols I (INT) in June 2019. In February 2020, came the first in a series of Nordic Sessions, where bureaucratic protocols were presented and performed in Aalborg (DK). In May 2021, Walking Protocols II took place in Copenhagen (DK). After the Helsinki edition, future performance protocols Nordic Sessions will take place in Bergen (NO) in May 2022. performance protocols is founded, organized and curated by artist and researcher Tina Mariane Krogh Madsen (DK).

Performance Protocols Nordic Sessions is supported by the Nordic Culture Point, Nordic Council of Ministers, and Nordic Culture Fund (Opstart).

http://performance-protocols.net/
https://www.facebook.com/performanceprotocols

FULL PROGRAM

18.09 at 12:00-15:00 in Third Space: Opening of score exhibition

Opening of the score exhibition  performance protocols Nordic Sessions # 3: Soundings with works by Ana Gutieszca (MX/FI); Jenna Jauhiainen (FI); Essi Kausalainen (FI); Petri Kuljuntausta (FI); Tero Nauha (FI); Eva Sjuve (SE); Malte Steiner (DK/DE); Timo Viialainen (FI); Tina Mariane Krogh Madsen/Eero Yli-Vakkuri (DK/FI). Due to Covid19 there can only be few people present in the space simultaneously (waiting time can occur).

***

18.09 at 15:00 – collective walk to Essi Kausalainen Cosmos Garden

After the opening we move from Third Space to Essi Kausalainen’s performance Cosmos Garden in Tähtitorninmäki park (lead by the artist).

***

19.-21.09 & 25.-27.09 at 14:00-18:00 (and by appointment) in Third Space: Score exhibition

Score exhibition performance protocols Nordic Sessions # 3: Soundings (info above).

***

19.-21.09 & 25.-27.09 in Third Space: Jenna Jauhiainen Trigger Happy (registration required, see info)

Jenna Jauhiainen, Trigger Happy performance sessions (appointments between 18:00-20:00).

***

22.09 at 18:00-21:00 in Akusmata: Performance night I (registration required, see info)

Eva Sjuve (activated score): Krispr (Spatialized)

Tero Nauha: tba (work for prepared theremin)

Timo Viialainen: What did you do as a child when the thunder cut the power?

***

23.09 at 18:00-21:00 in Akusmata: Performance night II (registration required, see info below).

Eva Sjuve (activated score): Krispr (Spatialized)

Ana Gutieszca: Insecta

Petri Kuljuntausta: Sonification of an Organic Growth

***

24.09 at 10:00 in Tripla, Pasila: Madsen/Yli-Vakkuri Safety as Ambience

Tina Mariane Krogh Madsen/Eero Yli-Vakkuri, Safety as Ambience, a collaborative performance in public space with a meeting point outside the Tripla Mall/Pasila Railway St. (right hand side).

***

24.09 at 17:00-19:00 in Third Space: Madsen/Yli-Vakkuri Safety as Ambience informal listening session

Madsen/Yli-Vakkuri will host an informal listening session with the results of the Safety as Ambience performance, now replayed in Third Space, making new connection points. You can drop in and out anytime during the session (due to Covid19 there can only be a few people present in the space simultaneously)

 

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Kenneth Kovasin: From Bow To Stem – A Daxophone Study

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7 July 2020

FROM BOW TO STEM – A DAXOPHONE STUDY

Kenneth Kovasin
Mon 3.8. – Fri 7.8.2020 at 14 – 18​.

​OPENING: Daxophone Concert by Kenneth Kovasin on Saturday 1.8. at 17:00.

From Bow to Stem – A Daxophone study

The installation “From Bow to Stem” is built around Finnish wood – the Appletree, Ash, Larch and Aspen. Kenneth Kovasin has designed 24 different Daxophone tongues of these four types of wood and built a sound installation that praises the soundscape of Finnish wood. Even an Aspen tongue that broke halfway through the recording of the piece is present. Three different soundboxes were used in the recordings.
Each wood is played from its own sound source creating ever-changing spatial sound in the gallery. The Daxophone recordings are repeated in random order regardless of each other.
The Daxophone tongues are like small beautiful wooden sculptures and the instrument produces unique and exciting sounds. The form of the tongues and choices of material affect the instruments sound in great extent.

Kenneth Kovasin is a sound artist and ambient musician from Helsinki, Finland. His works are often minimalistic and created with self-built instruments. Kenneth has toured festivals in the United States, Sweden and Estonia with his project [ówt krì] and has performed various concerts in Finland.
Kenneth’s first sound installation “Urban Evolution” was on display during the (con)temporary festival organized by LéSPACE in Helsinki 18.9–3.10.2015.
When not performing music Kenneth also produces concerts in cooperation with Sound gallery Akusmata. He is also one of the founding members of Frekvenssi, a collective aiding audial art in Finland.

The Daxophone

The Daxophone is an electromechanical experimental instrument invented by the German musician and instrument builder Hans Reichel (1949–2011) in the end of the 1980’s. The instruments sound is produced by friction and vibration.
The name is derived from the German word “dachs” standing for vole due to the strange, almost animal, sounds it produces. Reichel modified the word into ”dax” to mimic the saxophone by Adolphe Sax.
The Daxophone consists of a soundbox, installed with one or many contact microphones, and a wooden tongue clamped to the body. The body is placed on a tripod to provide more comfort for the performer. The Daxophone can also be made from metal or plastic but these materials will not enable as versatile tones as wood.
The instrument is played by rubbing the tongue with a bow and pushing down on the tongue with the “Dax”, a piece of wood formed as a wedge. The tongue can also be hit or plucked on. When playing the instrument, the tongue resonates, and the resonance is then transferred to the soundbox and it’s contact microphones that amplify the sound. The Daxophones scale is broad and the tone diverse. The sound depends in great extent on the used material, the shape of the tongue and where on the tongue the bow and Dax are being applied.
Compact wood like Ebony or Oak produce softer sounds whereas softer wood like Pine easily produce harsh sounds. Compact wood like Ebony or Oak produce mellow sounds whereas softer wood like Pine easily produce harsher sounds. The instrument scale is not as exact as on a guitar or other string instrument, but a fretboard can be installed on the Dax to provide for exact notes. The other side of the Dax is curved to enable smooth transitions between notes. Due to the fact that the Daxophone is an electronic instrument, different pedals and effects add to the versatility of the instrument.
Hans Reichel released his album ”The Dawn of Dachsman” in 1987 and this was the first time the Daxophone was heard in a musical piece. His 2002 release “Yuxo: A New Daxophone Operetta” gave the instrument broader attention. Still today the Daxophone remains a rarity. A musician interested in the instrument will have no other choice but to build one. The Daxophone is not mass-produced.
Reichel has illustrated plans and directions for building his instrument on his website and a skilled carpenter is thus able to build one.

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Ville Aalto: Avian Electronics | Metamorphosis

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17 February 2020

Ville Aalto

Avian Electronics | Metamorphosis

-sound installation-

March 2-6, 2020, at 14 – 18.

Avian Electronics | Metamorphosis
A sine wave metamorphoses into the song of a willow warbler, the call of a chaffinch is transformed into an electronic warning signal. White noise becomes a quiet breeze, sound generated by a random number generator babbles from a brook, crickets spring from synthesizers.
Nature as a stable, natural category does not exist. We tend to view things that previous generations have created as natural: fields, moors, ditches.
And so our unnatural ways are slowly metamorphosing into nature, traditional landscapes, conservation areas. This is quite natural.

Avian Electronics | Muodonmuutos

Siniaalto muuttaa muotoaan pajulinnun lauluksi, peipon vienosta kutsusta tulee sähköinen varoitusääni. Valkoinen kohina muuntautuu hiljaiseksi kevättuuleksi, purosta kuuluu satunnaisgeneraattorin pulinaa, syntetisaattoreista sikiää sirkkoja.
Luontoa pysyvänä, luonnollisena kategoriana ei ole olemassa. Meillä on tapana pitää luonnollisina asioita, jotka meitä edeltävien sukupolvien tuotantotavat ovat luoneet: niityt, nummet, pientareet.
Niin meidänkin luonnottomuudestamme on tulossa luonto, perinnemaisema, suojelukohde. Se on hyvin luonnollista.
Avian Electronics on Yle Areena
“Millaisia luontodokumentteja tehdään sitten, kun luontoa ei enää ole?” kysyy arvostelussaan Sampsa Oinaala hesarissa.

Esimakua maaliskuun 2. päivä Akusmatassa avautuvasta Ville Aallon soolonäyttelystä saat juuri YLE Areenassa julkaistusta ääniteoksesta ’Avian Electronics | sähköisiä luontokuvia’, jossa kiihtyvä teknologinen kehitys ja keinotekoisesti tuotetut luontoäänet sekoittuvat.

Kuuntele ääniteos YLE Areenassa: https://areena.yle.fi/1-50409434

Lue koko arvostelu ääniteoksesta Helsingin Sanomissa (huom. maksumuuri): https://www.hs.fi/kulttuuri/art-2000006415402.htm

Ville Aalto is a sound artist from Helsinki. He’s currently working on Avian Electronics, a project in which he uses synthesizers to produce “natural” sounds – especially birdsong – and create varying sound works with them. 2020 will see multiple installation works, an album of electronic music as well as live concerts related to the project.

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AKUSMATA POLYPHONIC 2020

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7 January 2020

AKUSMATA POLYPHONIC 2020

Sound Art and Electronic Music weeks

Venue: Vuotalo Cultural Centre & Akusmata, Helsinki

  1. – 31.1.2020

17 days of adventurous music and sound art for adventurous minds!

AKUSMATA POLYPHONIC is an intensive sound art and electronic music event at Vuotalo Cultural Centre and Akusmata gallery in Helsinki. Invited musicians and sound artists are from Nordic countries, North America and Finland, offering for the audience a wide spectrum of new sonic expression from the fields of experimental electronic music, sound art and ambient. The program includes electronic music, do-it-yourself musical instruments, sound performances, and improvised music. Sound installations are open in the Vuotalo gallery and Akusmata gallery. The producer of the event is Akusmata, the first sound art gallery in Finland. The program and updates will be published at akusmata.com and Akusmata’s facebook page https://www.facebook.com/Akusmata. The Nordic artists are visiting as a part of the Puls concert program / Nordic Culture Fund.

CONCERT 1

Friday 17.1.2020 at 19:00

Place: Vuosali (Vuotalo), Mosaiikkitori 2, Helsinki

Performers:

Jacob Kirkegaard (DK)

Halldór Úlfarsson (IS) & Max Lilja duo

[ówt krì] & Lauri Peltonen

* * *

CONCERT 2

Saturday 18.1.2020 at 19:00

Place: Vuosali (Vuotalo), Mosaiikkitori 2, Helsinki

Performers:

Niels Lyhne Løkkegaard (DK)

Bergrún Snæbjörnsdóttir (IS)

EXHIBITION 1: ‘Earth.Water.Air.Fire’

Place: Vuotalo Gallery (Vuotalo), Mosaiikkitori 2, Helsinki.

Time: 14. – 25.1.2020 (during Vuotalo’s opening hours)

-Sound works by

Jukka Andersson

Ava Grayson (CAN)

Ana Gutieszca (MEX)

Mikko H. Haapoja

Esa Kotilainen

Petri Kuljuntausta

Heikki Lindgren

The exhibition is co-produced by Frekvenssi association.

EXHIBITION 2: ‘Kinaesthetic Poetry’ (with KuNuKu Choir)

Sound installation by Jaakko Autio

Place: Akusmata gallery, Tukholmankatu 7 K, Helsinki.

Time: 17. – 31.1.2020

Open: Mon to Fri between 14.00-18.00. Weekends 11.00-16.00.
(Closed 25-26.1).

Free entry

Sound installation is part of international Art’s birthday event on Fri 17.1.2020 at 17-20.

Supported by Nordisk Kulturfond / Puls, Kordelin Foundation and Vuotalo Cultural Centre.

Vuotalo exhibition is co-produced by Frekvenssi association.

Curated by Petri Kuljuntausta & Kenneth Kovasin / Akusmata Sound Gallery.

Contact

Akusmata

Tukholmankatu 7 K, 00270 Helsinki

galleria.akusmata@gmail.com

akusmata.com

* * *

Vuotalo Cultural Centre

Mosaiikkitori 2, 00980 Helsinki

http://www.vuotalo.fi/en/about-us

WEB

Jacob Kirkegaard (DK), http://fonik.dk/about.html

Halldór Úlfarsson (IS) & Max Lilja duo, https://www.halldorophone.info/about/, http://maxlilja.com.

[ówt krì] & Lauri Peltonen, http://www.owtkri.org/

Niels Lyhne Løkkegaard (DK), http://www.nielslyhne.com/

Bergrún Snæbjörnsdóttir (IS), http://www.bergrun.com/about

Ava Grayson (CAN), http://www.aigrayson.com/

Ana Gutieszca (MEX), http://www.anagutieszca.com/

Esa Kotilainen, https://fi.wikipedia.org/wiki/Esa_Kotilainen

Petri Kuljuntausta, http://kuljuntausta.com

Heikki Lindgren, http://akusmata.com/heikki-lindgren/

Mikko H. Haapoja, http://mikkohaapoja.net/

Jukka Andersson, http://akusmata.com/jukka-andersson/

Jaakko Autio, https://jaakkoautio.wordpress.com/

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Jaakko Autio: Kinaesthetic Poetry (with KuNuKu Choir)

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21 December 2019

JAAKKO AUTIO

KINAESTHETIC POETRY. Homage for Sound Minds
– With KuNuKu Choir

17. – 31.1.2020

Opening times:
1st week: Mon to Thu 14.00-18.00 (closed Fri-Mon 24.-27.1)

2nd week: Tue 14-18, Thu 15:30-18, Fri 14-20 (Mon & Wed closed).
* * *

Ending Performance
JAAKKO AUTIO & KARRI KOKKO:
Asemic notes for Jaakko Autio’s sound installation “Kinaesthetic Poetry”.
31.1.2020 18.30-20:00 pm. Free entry. Welcome!

The inspiration for this work came from contemplating the idea of “art´s origin” or “art´s birthday”. When recording the material for KINAESTHETIC POETRY -installation, eight singers (KuNuKu Choir) surrounded three water pools. By using special sound equipment, the singers voices created geometrical shapes on water surface in real time. A kinaesthetic contemplation took place between the singer and the inner water. While recording, we were specially interested on the “birth” moment of geometrical shapes, and on the minimal effort needed to sustain the moving forms in water.

The sound of KP is based on 17 minute long loop. Musical arrangement was created by KuNuKu -choir via improvisation methods. The choir leader Jussi Mattila helped the choir to find the inner alignment with the water, but the audible musical arrangement comes from the group dynamics. On the final installation presented at Akusmata Gallery (17.1-30.1.2020), the singers are replaced by eight 8” full range speakers, placed on 1:1 relation how the recording took place. The guest can investigate the conscious movements of human perception, and alignment with non-human element such as water.

Artistic Crew:
Sound artist: Jaakko Autio
Choir Leader: Jussi Mattila
KuNuKu singers: Tatu Huotarinen, Antti Rissanen, Ossi Putkonen, Kaisa Karhunen, Emma Jämsen, Ella Vähäpassi, Reetta Karhunen & Juulia Karppi
Akusmata organizer: Petri Kuljuntausta

Web: https://jaakkoautio.wordpress.com/

KINAESTHETIC POETRY is part of Art’s birthday event on 17.1.2020 and Akusmata’s Polyphonic sound art festival.

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Ann Rosén and the Barrier Orchestra: DRAWING MUSIC

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15 October 2019

Ann Rosén and the Barrier Orchestra

DRAWING MUSIC

Concert-installation and concerts
November 14-16, 2019

Thursday 14:
Opening at 17-20, installation with short performances.

Friday 15:
Installation open at 17-19:00. Concert I (with the whole group) at 19:00.

Saturday 16:
Installation open at 15:00-16:00. Concert II (with the whole group) at 16:00.


The Drawing Music installation is a process that will take place under three days at Akusmata Gallery and at the end of second and third day there will be a concert.

With pen and paper Ann Rosén creates a very personal electro-acoustic music and when she plays together with musicians from the Barrier Orchestra exciting, explorative and musical soundscapes emerges.

Drawing Music is a development of the Graphite Barrier instrument and musical performance project. The instrument consists of graphite pens, paper, arduino card, and a software synth. Various points on the paper are connected to the synth. By drawing different coupling paths between these points and varying the thickness of the paths you control the synth. Further control is achieved by using the patchbay where you can directly patch different parts of the drawing to the synth. The drawings also serve as a score that the musicians relate to.

The music and the environment relate to each other through the meeting with the audience in the same way as the musicians relate to the drawings and vice versa.

On this occasion the Barrier Orchestra consists of Petri Kuljuntausta electric guitar (FI), Mikko Raasakka clarinet (FI), Sten-Olof Hellström electronics (SWE) and Ann Rosén live electronics and live score.

Drawing Music project and the Barrier Orchestra are different modules in the umbrella project the Great Barrier Orchestra, a trans-disciplinary project in sound art, art music, and performance.

With support by the Swedish Arts Grants Committee.

*

http://annrosen.se/
http://kuljuntausta.com/
http://www.raasakka.net/
http://www.stenolofhellstrom.se/
http://storabarriarorkestern.se/

 

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EEGsynth & Body Music demonstration by Oneplusoneisthree +guests

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29 September 2019

EEGsynth & Body Music demonstration
by Oneplusoneisthree (1+1=3) and guests

*   *   *
Sat 28.9.2019 at 20:00 – 22:00


Oneplusoneisthree (1+1=3) is an artistic platform / community / ecosystem for research and performance. The collective includes musicians, neuroscientists and visual artists. We stage performances where we use real time EEG signals. We use the signals to control sounds, lights and images. Since 2014 we have performed in Sweden, Greece, France, Brazil, the UK and the US. To find out more, you find the 1+1=3 / EEGsynth CV here: http://www.visionforum.eu/113-cv/

What is the EEGsynth?
The EEGsynth is both a device and a collaborative interdisciplinary research project. As a device, it interfaces with the brain and body for artistic and scientific exploration, research and expression, allowing anyone to use their own brain and body activity to flexibly and powerfully control performative equipment in real-time. In short, it transforms electrophysiological signals (EEG, EMG and ECG) into analogue and digital control signals by means of sophisticated neuroscience signal analysis and custom-made hardware. As a project, it brings together musicians, artists, neuroscientists and developers to work together on technology for specific artistic performances.

Why the EEGsynth?
Progress in understanding the human brain is increasingly determining how we perceive ourselves and others. At the same time, new technologies are expanding the possible interactions between technology and the human brain. Brain-computer interfaces have recently become affordable for a wider public, allowing new artistic research into the human condition and new ways of artistic expression. However, to be able to exploit their full potential and to ensure the development of a lasting involvement of the art world in this contemporary dialogue, artists and neuroscientists have to co-create.

The current core group of the project is: Jean-Louis Huhta, Per Huttner, Robert Oostenveld, Samon Takahashi and Stephen Whitmarsh. Collaborative Partners include Selen Atasaoy, Carima Neusser, Marcos Lutyens and Hernan Anllo.

1+1=3 is supported by the Nordic Culture Fund, the Swedish Arts Grants Committe and Kulturbryggan; the EEGsynth is supported by Innovativ kultur, Stockholm County Council, the City of Stockholm and the Swedish Arts Council.

The 1+1=3 website
http://www.oneplusoneisthree.org

The EEGsynth website
http://www.eegsynth.org

As an additional performance Petri Kuljuntausta (brain interface) and Eleni Tsitsirikou (arm interface) performed as the soloists of the 1+1=3 group.

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Taina Riikonen: The Anatomy of Desire

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29 September 2019

TAINA RIIKONEN
THE ANATOMY OF DESIRE

* * *
Opening hours:

FRI 20.9 klo 17-20 (opening party)

SUN 22.9 klo 16-18
TUE 24.9 klo 17-19
WED 25.9 klo 17-19
THU 26.9 klo 17-19
FRI 27.9 klo 17-19

”The Anatomy of Desire” is a sound research / installation / work on fetishism. The work consists of a one single extremely stretched recording of latex. The process of stretching the sound has changed the squeaky sound of latex into a smooth hissing, almost like a sound of a distant wind.

Fetishist is a person who enjoys a slow and explorative contact to materials, objects and things. S/he gets excited of touching and palpating the seams and differences of things, on being at the borderlines of diverse entities. For fetishist, the aim is not to achieve a goal as getting into somewhere, as crossing the line, but more as sensing the borderline over and over again. Touching the borderline acts as an extreme stretched instant between the letters in a word ”maybe.” The core of fetishism is the unsolved and unsettled ambivalence of sensing the materials and their invitation to exploration.

The idea of unsolved includes the element of the excitement of the absolute first appearance. In fetishist context, the materials, objects, and things can be approached over and over again in a way that obliges their past, their present, and their future. The things are emerged as instant and naked sings. If this absolute first appearance is stretched, as the sound file could be stretched, e.g. from a second to an hour, the fetishist exposes her/himself to an extreme prolonged anticipation and sensing the material.

I have been doing ten years now sonic material that I call “sound art.” I began by recording urban soundscapes, and since those days, I’ve been moving towards listening and recording more detailed and microscopic sounds. All the time I have been flickering between recording the landscapes and recording the detailed and intimate sounds.

The enigma within intertwined sensing and listening to materials and sounds has always been haunting me. About ten years ago I made recordings in which I touched different materials, such as velvet, silk, plastic, leather and latex. The sense of the materials and the heard sound of them seemed to overlap into each other when listening through microphones and headphones. This perception was crucial for my understanding of the acoustic epistemology, of the multi-material essence of sounds and listening, and also of touch.

In this sound work I have stretched the sound of latex. The act of stretching refers to fetishist desire for awaiting, the endlessly prolonged enjoyment of touching the borderlines instead of achieving something. Also, for a masked / unmasked referring to my upcoming 50 years birthday, I stretched the sound as 50 times slower. So, in the opening of the sound installation on Fri 20th September, there will also be a bit partying in the name of my birthday.

TAINA RIIKONEN is a Helsinki-based sound artist, PhD and adjunct professor of sound studies (in University of Turku). In her sound works she explores urban environments, sexuality, body sounds, machine noises, and silence in different deserted spaces. In her academic research Riikonen investigates acoustic ecological aspects of listening, body sounds through sensory ethnography, embodiment in sound recording, and the aural-tactile epistemologies of environmental sounds. Riikonen has worked in the University of Helsinki and in the University of Arts. Currently she works as a “bold maker”, a post doc researcher funded by Kone Foundation in the University of Tampere. Her research project investigates the diverse registers of silences in Finnish villages.

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