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She is currently facilitating an oral history fishing project and delivering an interdisciplinary creative arts programme for people living with dementia and their carers. Timo Kahlen - System I was taught not to play with money. The radio is totally rectangular; the button is round and the speaker part is rectangular with small holes. The words on the indicator are green, and the pointer is red, and a bit transparent. Some of these boats have old engines with a very slow stroke, producing a very special sound.
((Multiple references to financial spendings and crisis, to the current issues with Brexit etc. Mine was light colored and had a colored bag as well. On the indicator there are numbers: 1.5; 2; 3; 4; 5.6; 6.5; 8; 10 and 15. On quiet nights, the acoustics created between the fjord and surrounding high mountains make this sound very seductive.
As a tip of the hat to William Burroughs and Robert Anton Wilson I take the sample from the 23rd minute. I use the deep listening of voices and noises, with or without images, as a medium to explore the mechanisms of the personal traumatic memory.
Each sample is arranged and layered chronologically, constructing an aleatory narrative, a random DJ mix of dialogue, music and foley, a self portrait of viewing habits and memory. I'm also playing with more dreamy and intimate sounds - voices, whispering, breathing, sounds of my daily life. Alexis Weaver - Crackle Crackle explores the possibilities of texture, with the sharp, pointillist snap of fire acting as a thread between each expressive realm.
„In this momentary awareness I tried to tell myself,...“ mixes quotations of deep sea explorer Jacques Piccard, with unexplained recordings from the deep sea and field recordings from the spa. The change is constant and very gradual, affecting the pitch of the sound.
His work has received nominations for various renowned scholarships and residencies, for the German national “Sound Art Prize“ (2006), the Stiftung Kunstfonds stipend (2010), the „Supreme Concept Award“ at Kinetika 2014 (New Zealand), for the “Kahnweiler Prize for Sculpture“ (2001) and for the “Prize for Young European Photographers“ (1989), as well as critical recognition at more than 150 exhibitions of contemporary media art since the mid-1980s : including invitations to „Sound Art: Sound as a Medium of Art“ (ZKM | Karlsruhe 2012-2013), “Tonspur_expanded: The Loudspeaker“ (Vienna 2010), “Manifesta 7: Scenarios“ (Italy 2008), “Wireless Experience“ (ISEA, Helsinki 2004), “Zeitskulptur: Volumen als Ereignis“ (Linz 1997) and his solo exhibition “Timo Kahlen: Works with Wind“, inaugurating the Kunst-Werke Berlin in 1991. Faxen - In this momentary awareness I tried to tell myself,... The travel takes place by association and imagination.
Piccards reports serve as a framework for a sound work that mixes with maritime underwater soundscapes and field recordings from the spa itself. Bio: Tumi Magnússon was a professor at the Iceland Academy of Art from 1999-2005, and the Royal Danish Academy of Art from 2005-2011.
Bio: Since 2004, Clemens Mairhofer, Lucas Norer and Sebastian Six work together in the artist collective FAXEN. He currently lives and works in Copenhagen, Denmark, and spends his summers in Seyðisfjörður, Iceland.
He has performed and released material throughout Europe, Asia, the US, UK and Canada.
In 2014, he was awarded a Media Artists' Assistance Grant by Wave Farm (NYSCA) to create 125 unique artist edition double-sided loop pieces towards developing sustainable audience engagement with the sonic arts, housing all the loops online in a freely streamable living archive and commissioning over 120 sound artists to create new work using each singular piece.