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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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Helsingin reitit – The Routes of Helsinki 2010-2020

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3 September 2019

Helsingin reitit – The Routes of Helsinki 2010-2020

Open: 6.-19.9.2019 Tue-Thu & Sat-Sun 14-18 (Mon & Fri closed)
Opening: Thursday, 5.9.2019 at 17.00 – 20.00.

*   *   *
Opening LIVE EVENT on Thursday, 5.9.2019, at 18.00

illmari (spoken word)

Mikko H. Haapoja (jouhikko, soundscapes)

Elina Aho-Brennan (live painting)

How does the city sound and how does it feel to just listen the city? The Routes of Helsinki leads one to a sonic journey from the rapids of Vanhakaupunki to bright summer nights in downtown and to listen the sounds recorded inside the Hanasaari B coal power plant.

The Routes of Helsinki (Helsingin reitit) is a soundscape project created by media & sound artist Mikko H. Haapoja and it consists of various audio-visual and sound art works. The project has focused on the changing soundscapes of Helsinki since 2010, on boundaries between nature and the city. In addition to the sound art compositions and media art installations, The Routes of Helsinki offers ’Sound Landscapes’ performances with live painting, music and urban poetry.

The Routes of Helsinki 2010-2020 exhibition offers inspiring urban exploring in the form of rare and familiar Helsinki sounds, and its first installation will happen in Sound Art Gallery Akusmata in September 2019.

Mikko H. Haapoja is a versatile media artist & music professional – a producer, composer, musician and sound engineer from Helsinki, Finland. Haapoja works fluently with various music genres from acoustic folk music to contemporary electronic music, from alternative rap to indie pop.

Since 2014, Haapoja’s media & sound art projects The Routes of Helsinki & Oases from HEL have been presented in many galleries in Helsinki and New York, in Helsinki City Museum and in public city space, including metro platforms of Helsinki Central Railway station. Meanwhile, Haapoja has also recorded and mixed various global music albums like Okra Playground’s ‘Turmio’ and Nathan Riki Thomson solo LP.

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Budhaditya Chattopadhyay: Machine Poetry

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18 August 2019

Budhaditya Chattopadhyay (IND)

MACHINE POETRY

August 29 – September 2, 2019.
Exhibition opening: 29.8. at 14-20

Opening times:
29.8. 14 – 20
30.8. 14 – 17
31.8. – closed –
1.9. 14 – 19
2.9. 14 – 18

The currents of ultra-capitalism is manipulating our understanding of the social and environmental realities by proliferating numerous delusions like growth, urban expansion, development, consumption, difference and competition as natural. How can we deconstruct these naturalizations that are imposed on our perception? Can we consider poetry as the tool to subvert the intentionality of the contemporary machine society that is based on control, surveillance, fear psychosis, and driven by AI?
‘Machine Poetry’ is a sound installation that searches for poetic openings in the machine-induced sound-world and advocates for poetic contemplation involving pre-cognitive association, impromptu flashes and explosions of memory, sensitivity and perceptiveness of an altered and subjective reality as the crucial parameters for an augmented intelligence. As many scholars have argued, there is a stronger link between sound perception and the human faculties of imagination and contemplation, making any sonic experience more private, intimate, and subjective than other sense modalities. Using humanly spoken words within a site-responsive and generative sound environment at the methodological core of the work, the argument for a deep necessity of a poetic rupture in contemporary human condition is provided an entry-point, developed, and substantiated in this participatory and discursive installation.

Budhaditya Chattopadhyay (IND) is a media artist, composer and researcher, holding a PhD in artistic research and sound studies from ACPA, Leiden University, The Netherlands. He is currently a Mellon Postdoctoral Fellow at the Center for Arts and Humanities, American University of Beirut. Focusing on sound as primary medium, Chattopadhyay produces works for large-scale installation and live performance addressing contemporary issues of climate crisis, human intervention in the environment and ecology, migration, race and decolonization. Chattopadhyay’s works are published by Gruenrekorder (Germany) and Touch (UK). He has received numerous fellowships, residencies and international awards, and his works have been widely exhibited, performed or presented across the globe. His writings on various issues of sound studies regularly appear on peer-reviewed journals internationally. Prior to his PhD, Chattopadhyay has graduated from the national film school of India specializing in sound recording, and received a Master of Arts degree in new media/sound art from Aarhus University, Denmark. Website: http://budhaditya.org/

NOTE:
– On Wednesday 28th, Budhaditya Chattopadhyay will give a talk / lecture performance ‘Unperforming Sound: from the Margins of Artistic Research’ at CARPA6 conference in Kiasma museum.
– On Saturday 31st, he will give ‘Hyper-listening: praxis. Workshop on (urban) sound, listening and wellbeing’ in the ‘Music, Sound and Wellbeing. A Transdisciplinary Symposium’ at University of Eastern Finland, Joensuu.
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LIVE: Project VO (JPN/FIN/GER) / Émilie Payeur (CAN) / Jukka Kääriäinen — Natalia Castrillón Duo

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28 July 2019

ÉMILIE PAYEUR (CAN) /

PROJECT VO (JPN/FI/GER) /

 JUKKA KÄÄRIÄINEN — NATALIA CASTRILLON (COL) DUO

Wednesday, August 14, at 19:00

Doors: 18:30

ÉMILIE PAYEUR (CAN)
Émilie Payeur is a multidisciplinary artist from Montreal, Canada, mainly active in experimental music and visual arts. Her music, often described as minimalist and sometimes harsh, is mainly based on the no-input technique and on risk-taking. In her visual work, she is interested in the traces she perceives as remnants of actions from the past; also in the manipulation of reality, of others views and her own view. Emilie has a master’s degree in electroacoustic music composition from the Université de Montréal and her work has been performed all over the world and has received numerous awards, both in Canada and internationally.

Émilie is a member of Dead Squirrels (noise music trio), Kohlenstoff Records (label and experimental music collective), Projet K (experimental ensemble), Moshi Moshi (experimental and Kawaii audio/visual trio) and Jeunesse Cosmique (music label and cosmic family). She also plays in the Giri Kedaton Gamelan. Émilie’s performance at Akusmata will be an attempt at going somewhere else musically speaking and hopefully magic will happen.

PROJECT VO (JPN/FI/GER)
Rieko Okuda, keys
Antti Virtaranta, double-bass

Project VO (JPN/GER/FI) is an improvising duo between double-bassist Antti Virtaranta and pianist Rieko Okuda. Since their first album, glass hopper, 2012, they have continued expanding their creative ways of navigating the free improvisation landscape. The combination of piano and bass has taken Project VO on a sonic journey that keeps pushing them constantly to new directions.

Japanese-born pianist, composer and multi-instrumentalist Rieko Okuda, have made a name among new generation of the Berlin improvised scene. She settled in Europe after MA in piano at Juilliard School of Music in New York. In the USA she worked with saxophonist and a bandleader Bob Mintzer at first, following stints with Jon Faddis and John Fedcheck. Joining a band of alto-saxophonist Marshall Allen of Sun Ra Arkestra followed, for two years, working also with Elliot Levine, cellist of Cecil Taylor, and Calvin Weston, drummer of Ornette Coleman’s Prime Time Band. In Berlin, she develops projects with double-bassist Antti Virtaranta with whom she plays in Project VO and Akvariettrio. Her another piano trio is called Cleaning Each Other, as much as collaborations with musicians like Audrey Chen, Els Vandeweyer, Susanne Zapf, Yuko Kaseki, Axel Dörner, Norbert Stammberger, and Otto Szabolcs Horvath, a.o.

Antti Virtaranta is a Finnish bassist and composer. He began his music journey at 17 years old focusing on Jazz music, attending University of the Arts in Philadelphia. Quickly he was introduced to free jazz and experimental electronic music, and this changed everything. He moved to Berlin to join the vibrant scene of improvisers, starting projects with many musicians and developing his own sound. Currently he is focused on expressing his voice in music and sound through composition and improvisation. Using his influences from jazz and rock music and self-taught contemporary music, his musical language is formed. Nowadays, his focus is on concepts and compositions for solo bass and solo electronics, and using non-conventional notations. These ideas develop and are imposed into the small groups (duos and trios) and larger ensembles that he is involved with to create instant composition in his varying projects, which include collaborations with dancers and visual artists, on top of the numerous musicians he works with.

JUKKA KÄÄRIÄINEN – NATALIA CASTRILLON DUO

Jukka Kääriäinen is a finnish musician specialised in experimental and free improvised music. Jukka’s instruments vary between plain acoustic and prepared guitar to back bag of pedals, live-electronics and bowed electric guitar. Jukka has toured many European countries such as Italy, Hungary, France, Germany, Russia and Estonia. Alongside solo concerts Jukka has been collaborating with musicians like Teppo Hauta-Aho, Emilio Gordoa, Mikko Innanen, Kalle Kalima, Paul Pignon, Harri Sjöström, Jone Takamäki, Roomet Jakapi, and Pauli Lyytinen.

Natalia Castrillón is a versatile harpist from Colombia interested in improvisation and the experimental sound possibilities of the pedal and lever harp. She has collaborated with artists from different music genres and disciplines such as theatre, dance and contemporary improvised music. Natalia plays actively in different projects that include Latin American, West African, World, and Experimental Improvised Music. She graduated from Caldas University (Colombia), and also studied harp, chamber music, symphony orchestra, music theory and ear training at Pontificia Universidad Javeriana (Colombia). In addition, she worked as a music and harp teacher at Fundación Nacional Batuta in Colombia.

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LIVE: Marjamäki-Metsätähti + Rasmus Hedlund

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5 June 2019

JARI MARJAMÄKI – TATU METSÄTÄHTI + RASMUS HEDLUND
+ VJ Ville Kuvaja

Wednesday, June 18, 2019.
Doors 18:30, Showtime: 19:00


Marjamäki/Metsätähti
Jari Marjamäki (Zentex) on Portugalissa asuva muusikko, DJ ja äänitaiteilija. Hän on toiminut teknotuottajana ja tapahtumajärjestäjänä, sekä suhinoinut kokeellista musiikkia soolona ja erilaisissa kokoonpanoissa jo yli 20 vuoden ajan. Tällä hetkellä hän pyörittää myös Desterro-nimistä vaihtoehtoista keikkapaikkaa Lissabonin keskustassa.

Tatu Metsätähti (Mesak) on – Marjamäen tapaan – Turusta maailmalle paennut äänityöläinen. Helsingissä nykyään vaikuttava muusikko on tasapainoillut avantgarden ja klubimusiikin molemmin puolin koko uransa ajan, ja on sotkeentunut myös nk. skweee-liikkeeseen.

Akusmatassa kaksikko esiintyy ensimmäistä kertaa yhdessä. Luvassa on ainutkertainen, elektroniseklektinen ambient-teos joka nojaa vahvasti improvisaatioon.


Rasmus Hedlund

Rasmus Hedlund on monialainen muusikko jonka sävellyksiä voi kuulla elokuvissa, teatterissa ja kuvataiteessa. Hänen monista projekteistaan yksi tunnetuimmista lienee Ljudverket-levymerkki.

Akusmatassa esitettävässä konsertissa eri äänilähteistä pulppuavat sähkösignaalit muokataan ohjainten säätövipujen avulla sopivaan muotoon kulkemaan kuparijohtoja pitkin päätevahvistimeen, josta signaaliketjun päässä oleva kaiutin lopuksi muuntaa sen ihmiskeholle vastaanotettavaksi ääniaalloksi.

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LIVE: Nordic Sound Art and Electronic Music

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2 May 2019

NORDIC SOUND ART AND ELECTRONIC MUSIC

 

Place: Vuosali, Vuotalo, Mosaiikkitori 2, Helsinki.

Date: Saturday, May 11, 2019

Time: 19:00-21:30

Free entrance

 
The producer of the event is Akusmata, the first sound art gallery in Finland. The event is supported by Vuotalo Cultural Centre and Nordic Culture Fund / Puls.
​

 

​ARTISTS​
 
HARALD FETVEIT
​(NO)​
 
Harald Fetveit started to play noise in the mid-eighties. He has developed a characteristic, forward-leaning sound, often full of ruptures and rapid dynamic changes. He was educated in visual arts, and has worked with site specific installations and photography, but also been involved in contemporary dance and performance art, with a.o. Baktruppen. Since 2003, he has been running “Dans for voksne”, a series for experimental concerts and related activities, and has played a major role in the development of Oslo’s experimental music scene.
 
His focus has always been on the live-setting. He has played with people like Junko Hiroshige, Hankli Ryu, Mattin, Lucio Capece, John Hegre, Jim Denley and Anla Courtis, with whom he also collaborates in the project DNA? AND? with kids with mental disabilities. He is currently active with drummer Thomas Oxem in their duo SKÆVV and with sax-player Dario Fariello in their duo Sciardac. “Norway’s finest improvising noise/voice duo” has been stated on his latest album with vocal artist Agnes Hvizdalek, the album was released in November 2018.
 
haraldfetveit.no
soundcloud.com/user-438589218
sanntidsmusikk.bandcamp.com/
SONJA TOFIK
​(SE)​
 
Sonja Tofik makes intimate and often melancholic ambient that draws upon influences from folk music and noise. Her distorted and slowly lulling synth loops are paired with folk-inspired vocal melodies and field recorded samples, a haunting sound both atmospheric and anguished. Through intimate and subdued synth music, echoing of organ harmonies, Tofik creates a realm of sonic shadows. In 2017, she released her debut EP ’Neuros’, and ’Vilar i dina spår’ together with Marlena Lampinen, both on the label Moloton. Previous shows include, among others; Fylkingen, Stockholm, Moderna museet, Stockholm, and Intonal festival, Malmö. ​Tofik is part of Stockholm studio collective Drömfakulteten. ​She lives in Stockholm and Berlin. ​
 
https://soundcloud.com/sonjatofik
https://open.spotify.com/artist/0xQ4lVwDOjBxjaPO5hIiC3

FREDRIK MATHIAS JOSEFSON
​(SE)​
 
Fredrik Mathias ​​Josefson has for several years worked in the area between sound art and electroacoustic compositions and questioned concepts such as installation and concerts. His artwork, performed in this concert, titled ‘What Can I Say To Convince You That All My Happiness Is In Loving You?’, is an example of this and the question is raised: what is an installation, what is a composition?
Recently, Fredrik Mathias Josefson’s focus has been to spatialize sound in compositions for high-density speaker arrays and within that format create sound environments of artificial field recordings and sound objects. The speaker elements make the air vibrate — a vibration which reaches the ears like sound. In this work, the vibrations have shifted from the air to the objects, from the intangible to the physical. The work has a narrative, but what is manifested is a short slice in this narrative. Time is frozen, but nothing is still – everything is vibrating.​ ​Josefson is active in the international experimental and electroacoustic music and art scenes with over thirty albums and over a hundred concerts. He lives and works in Stockholm and Hamburg where he is researching at the Hochschule für Musik und Theater Hamburg.
​
http://www.mathiasjosefson.com/
https://open.spotify.com/artist/7CgSCQLmQuvpWHKFmOy80P
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Live: BRAIDEDSOUND (USA/CAN/NL/FI)

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3 April 2019

BraidedSOUND

(full band + duo & trio)

Wednesday, April 24, 2019

Showtime 19:00, doors 18:30

BraidedSOUND is a series of improvisational site-specific experimental ensembles that operate off a graphic score designed by Jesse Perlstein. These performances celebrate collaboration, improvisation and interpretation, ensuring that each performance is a unique experiment unto itself. Braided Sound also strives to be as global as possible, connecting artists from different backgrounds, genres and cultures both musically and spiritually.

For BraidedSOUND’s Helsinki debut we have invited some amazing local musicians (and two foreign) to join the ensemble.

BraidedSOUND
[helsinki ensemble] – audio/video
•
from USA/Canada:
–JEREMY YOUNG (piezo’d surfaces + oscillators)
https://cargocollective.com/jeremyyoung
–JESSE PERLSTEIN (vox + field recordings on tape)
https://jesseperlstein.com
•
from Netherlands/Helsinki:
–MARLOES VAN SON (electronics)
https://www.marloesvanson.nl
–ALEX VAN GIERSBERGEN (visuals)
http://wtf0.nl/
–TYTTI AROLA (violin + electronics)
https://www.tyttiarola.com/
–PETRI KULJUNTAUSTA (guitar)
http://kuljuntausta.com/

Every performance is a chance to rethink the very building blocks upon which my compositional practice is founded, but invitational opportunities to perform with new creative collaborators in far away countries welcome both excitement and logistical challenges.

While this project draws on a deep familiarity with graphically notated score history, from that of Cage and Cardew and Stockhausen among many others, BraidedSOUND distances itself from the aesthetics and behaviors of “concert music” almost entirely—we are rather seeking to explore and define a contemporary use of the graphic score as a map, the compass and legend of which must be figured out with every single new performance, by every participating artist, together as a unit, in every new space and every different city, and using the hybrid sonic avenues of electronic and acoustic elements as its toolkit.

‘Helsinki Score’

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Live: Marja Ahti – Kati Roover

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22 March 2019

Marja Ahti – Kati Roover

Vegetal Negatives Record Release

Wed 27.3.2019, showtime 19:00 (doors 18:30)

Marja Ahti‘s album Vegetal Negatives is released March 29 by the Swiss label Hallow Ground. It is a game of sonic mutations, mimicry, inversions, and association inspired by a text called “On pataphotograms”, by the French writer René Daumal – a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination.

The four electroacoustic compositions on the album combine and arrange field recordings, electronic feedback, Buchla and ARP synthesizers, bowl gong and harmonium, textures of detailed acoustic sound, and sustained tones with gentle microtonal beating into a precise musical narrative. She juxtaposes recordings of rooms and empty vessels, natural and artificial climates, spontaneous and staged events. Ahti draws upon Annea Lockwood’s ideas about associative movements between sounds based on shared characteristics and sonic energy. Her approach to field recordings is neither diaristic, documentaristic, nor purely acousmatic, but rather it starts out from somewhere in between these notions: the sounds hover between abstraction and the deeply familiar, moving into a realm of poetic metaphor where they are set in relation to each other, fleetingly mirroring or shadow-dancing.

Marja Ahti (b. 1981) is a Swedish-born artist living and working in Turku, Finland. She has been an active part of the Finnish experimental music scene for more than ten years. This is her debut LP under her own name.

www.marjaahti.com

Kati Roover is an Estonian-Finnish visual artist based in Helsinki. In her works she approaches environmental changes through poetic imagination. Roover’s interests include human-non-human interaction, natural sciences, anthropology, special places, deep listening and documentary essay film. She works with moving image, photography, sound, text and installations.

Kati Roover will present a sound work, H2O – Creatures that was recently exhibited at Titanik Gallery in Turku. In the working process she has looked at the massive cultural changes where water’s cyclical time were condensed into simple H2O form. The mythical stories of water gave way to the linear time defined by a man. Human watery organs and the efficient processes created by them, work as modifiers of water structure and it’s flows in the environment. Water has become a commercially available, manageable and disappearing material or a hidden landfill. However, as an element, water is still like a permeable channel, a cyclical cycle of time and an all-embracing sensor: by its very nature, a state that registers change and challenges the senses to a different experience of reality.

http://www.katiroover.com/

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Ääniaalto IV: Sound Art Exhibition

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9 March 2019

Ääniaalto IV: Sound Art Exhibition

Exhibition Dates: Wed-Sat 13.-16.3.2019

Opening time: 16:00-20:00 daily

LIVE Concert I: Friday 15.3.2019 at 18:00.

LIVE Concert II: Saturday 16.3.2019 at 18:00.

Free entry

ÄÄNIAALTO, the annual festival of audiovisual oddity, exhibits multichannel audio, VR, interactive and bioart sonic installations from Wednesday 13.3 to Saturday 16.3 at Akusmata. The official opening of the exhibition is on Wednesday 13.3 at 17:00.

We are collaborating with Akusmata to display the works of LenaoooYuki, Olga Palomäki, Otso Sorvettula and Lauri Linna. The programme also includes two live performance, Stephen Christopher Stamper on Friday 15.3 and Autotel with his Calculeitors on Saturday 16.3.

LenaoooYuki – Sonic Illustrations

The room is divided into areas, which address different momentums of senses (visual, acoustic, durational, pictorial, spatial, associative, …) in which thoughts about sounds could be crystallized within one’s mind. Different brain areas might be observed in a proprioceptive way. A sense for the notion of a virtual representation of a real object or the perceptive split when encountering a media depicted person in real life might be considered a relatively new perceptive momentum.

Thinking of how to relate to sound / sonic phenomena throughout the ever-changing ecology of perception in analog / digital constellations (after Bergson) is possible.

The VR part is through thin acoustic wires fusing a virtual space and the mostly analog experience corners of the exhibition space to symbolize a mind which might be in a future a fusion of analog and digital experiences and therefore bodily partly detached memories. The virtual reality part is a collaboration with artist / musician Carlos Ortiz (Colombia), graduate from University of Arts, Berlin.

(The installation is through its chemical compounds and emotional experience range supposed to be child friendly.)

Lena Andrea Haberberger, former exchange student at Sound in New Media (Aalto University Helsinki, Department of Arts, Design & Architecture) and graduate in Sound Studies (University of Arts, Berlin), is at the moment engaging philosophically and artistically with synaesthetic or inter-modal phenomena that might depict experiences or phenomena in a figurative and illustrative way.

Olga Palomäki – Water Connection

Water Connection (2019), is a 4-channel sound installation. The work is based on field recordings that were made in the Lofoten Islands, Norway last year. The recordings consist both of man-made and natural sounds, mostly those that are specific to the place. The recorded sounds were deconstructed and modified in the pursuit of creating an otherworldly, dreamlike and hypnotic soundscape out of them. Water Connection combines elements of sound art and experimental music. Minimalist drones, beats and harmonies, the musical elements of this three-dimensional composition, transform into a sonic representation of an imaginary place and vice versa.

Olga Palomäki (*1980) is a visual and sound artist based in Helsinki, Finland. S/he is fascinated by the lost, forgotten and the unseen. Palomäki makes experimental sounds based on field recordings. Olga’s sound works are influenced by dark ambient- and drone music. S/he captures man-made sounds and background noise, using them as instruments by modifying the recordings and shaping them into a new form. Palomäki makes videos that illustrate the sounds: music videos and visuals for performing live.

Palomäki’s works have been on display in several solo and joint exhibitions, radio shows and sound art/experimental music events, film and video festivals and screenings in Finland and other European countries. Palomäki has perfomed live at different venues in Finland and abroad. S/he graduated from Tampere University of Applied Sciences, Fine Arts Programme in 2007.

Otso Sorvettula – About Time

Sound has an inevitable relationship with time. Even when recorded and played back, sound is sensed at the present moment, one tiny chunk at a time. Sound exists only when it already ceases to exist. Light seems less tied to the dimension of time. Light can be recorded for years and the recording can be sensed at a glance.
The starting point of the work is the relationship between sound, light and time. Lamp cycles through different stages and light creates a sound that exists only at the moment of hearing. Observer inevitably affects the events by being present.
The work consists of a lamp and an array of light sensors. Sensors transform the emitted light into electrical voltage. The voltage then controls an analog synthesizer that creates the soundscape.

Otso Sorvettula is a media artist, maker and designer from Helsinki working with experimental media, sounds, visuals, DIY instruments and software. He is interested in mistakes, interference, aberrations and surprising harmonies. His works range from interactive installations to educational workshops exploring creative and expressive possibilities of both new and obsolete technologies. Currently Otso is finishing his Master of Arts degree at Media Lab in Aalto School of Arts, Design and Architecture.

Lauri Linna – Plants Pushing Buttons

Plants move very slow and usually we humans don’t see it happen. The installation “Plants Pushing Buttons” offers plants buttons to push. As the plant moves on top of the button a sound is played. It’s unclear can the plant understand the connection between its movement and the change in the soundscape. But what is clear is that when a plant is introduced to a button it likes to press on it. The plants also get bored and don’t push the button if the sound file of the button isn’t changed once in awhile.

Recent research has found that plants react to the sounds of running water and caterpillars munching on leaves. Another research found that plants also emit some kind of vibration that travels in air. Maybe insects and other plants hear it? Maybe it affects us too?

Special thanks to Marloes van Son for electronics coaching.

Lauri Linna is a Helsinki based artist. He works with plants, gardening, moving image, sound and electronics. Since 2014 he has been studying carrot – human relationship in his project PORK KANA CAR ROT. Other fields of interest are plant behavior and intelligence, plant – machine relationship and plant related technology. Linna is a recent Master of Arts from Aalto University’s Visual Culture and Contemporary Art (ViCCA) program.

Stephen Christopher Stamper: Live Concert

Friday 15.3.2019 at 18:00.

For this intimate performance, Stephen will be using the open-source audio and video programming environment Pure Data to generate and process acoustic feedback from an unamplified MacBook Pro.

Stephen Christopher Stamper is a British-born artist and immigrant living and working in Helsinki.

Through sound work, installation and performance, Stephen has explored themes of decay, memory and obsolescence, the body and its relationship to illness, the manipulation and execution of code by machine, and extreme metal music culture.

Autotel & co: Live Concert

Saturday 16.3.2019 at 18:00.

Autotel invites anyone interested in generative and electronic danceable music to jam with him and his Calculeitors. You can jam with Autotel’s Calculeitors or bring your own synth, just don’t forget your cables! This jam will be the closing ceremony of ÄÄNIAALTO sound art exhibition.

Autotel is an art engineer & electronic musician. On his current project, Autotel is exploring how music can be composed in the spot, according to the flow of the party. For this, he has created a unique live setup that he virtuously performs in the stage, capturing people’s attention. Autotel’s style is recognized as strongly rhythmic and organic. Depending on the audience, music may go along the lines of house music or dive into techno.

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