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Sonic Acts Academy 2016 Report SONIC ACTS ACADEMY 2016 REPORT 1 / SONIC ACTS ACADEMY 2016 REPORT SONIC ACTS ACADEMY 2016 REPORT INTRODUCTION From 26 to 28 February 2016, Sonic Acts hosted the first edition of its new ‘Academy’ programme. Over the course of three days, artists and theorists expanded on their research through lectures, concerts, film programmes, work presentations, masterclasses and workshops. The Academy is a bi-annual event that alternates with the Sonic Acts Festival. It creates space for a more focused and research-oriented programme, and offers thought- provoking new perspectives on the research into art, the research needed for art and especially research through art. The programme took place at various locations in Amsterdam: the opening was at Stedelijk Museum and attracted over 1,100 visitors. This was followed by two days of well-received lectures, presentations and film screenings at De Brakke Grond, drawing a great crowd both off- and online (with over 600 people following the programme via the live stream on both days). On Saturday evening the symposium was followed by a packed night of concerts and performances at Paradiso. In the weeks preceding and following the Academy, there was a programme of engaging workshops for artists, curators, theorists and cultural practitioners. THE PROGRAMME Opening at Stedelijk The opening event of the Sonic Acts Academy took place at Stedelijk Museum Amsterdam. Outside on the Museumsquare, Joris Strijbos’ large-scale kinetic sound- Joris Strijbos, IsoScope. Opening Sonic and-light installation IsoScope functioned as an eye-catcher. Sonic Acts commissioned Acts Academy at Stedelijk. IsoScope for the Academy and the Dark Ecology project in Norway and Russia. The Photo by Pieter Kers 2 / SONIC ACTS ACADEMY 2016 REPORT “The works of art and installation consists of twelve robotic wind objects that interact with each other research are neither just and their surroundings to perform a generative composition, providing a sensorial experience in which the audience could wander around. art, nor just research and it is in this intersection that Inside Stedelijk, a multitude of performances took place throughout the building. Thomas Ankersmit premiered his new piece, a Sonic Acts commission, titled Homage new connections can be to Dick Raaijmakers (the titan of Dutch electronic music). Ankersmit only used analogue drawn. This is the power of electronic sounds, and mainly employed the tone and noise generators, modulators, and filters – using his Serge synthesizer – that were also available to Raaijmakers in the Academy: many artistic- the 1950s. The performance explored the spatiality and physicality of sound, and the academic assemblies will interference of sound waves with each other. The result left quite an impression on the audience, and it was without doubt one of the highlights of the evening. emerge that we are eagerly looking forward to.” When entering Stedelijk, visitors first encountered two icons of the Dutch improv and sound art scene, Jos Smolders and Frans de Waard, performing a new quadrophonic - Niels Tubbing, Gonzo Circus composition as WaSm. Upstairs, one of the rising stars of the new electronic avant- garde, guitarist Raphael Vanoli, played solo, using a unique technique that exaggerated the tiniest sounds from his instrument, making them audible in an often-overwhelming fashion. One of the other highlights – judging from the audience reactions – were two powerful solo improvisations by cellist Okkyung Lee surrounded by paintings by Mangold in a room that was overcrowded with concentrated listeners. Using extended techniques and viscerally extracting non-standard sounds from her instrument, it sounded as if she “Still reeling after so many was turning the cello inside out. good talks at @SonicActs. The opening also marked the first presentation of the Maryanne Amacher Archive Heather Davis on the queer (Bill Dietz and Robert The) in the Netherlands. Maryanne Amacher (1938–2009) was plastisphere was a highlight.” an American composer known for her rigorous research and groundbreaking sound concepts. Sonic Acts has presented her works several times in the past 15 years, and - Jennifer Lucy Allan plans a longer collaboration with the Maryanne Amacher Archive. At the Stedelijk Dietz and The presented Amacher’s Tone and Interval Studies that document her experimental investigation of otoacoustic emissions and psycho-acoustic dimensions of human tone perception. The performance programme was complemented by a selection of works from the Stedelijk collection, which gave a historical context to the programme. Carefully selected for this occasion were a prototype of Dick Raaijmakers Ideophone, as well as compositions by Terry Riley and LaMonte Young (resp. Poppy No Goods All Night Flight and Drift Study), both closely related to the Amacher’s work. The event in the Stedelijk succeeded in combining different generations of electronic music and noise in a gesture of intergenerational programming. Symposium The symposium on 27 and 28 February was held at De Brakke Grond in Amsterdam, a new location for Sonic Acts. Each day consisted of a series of presentations plus a closing session. Each presentation had its own moderator from the Sonic Acts curatorial team who introduced the presentation and mediated the Q&A. Sally Jane Norman – an expert on artistic research – opened the symposium with a lecture sketching the current state of artistic research and its challenges, and acted as a central respondent for the programme as a whole. The first day saw Louis Henderson showing his films, and discussing animism in the context of the Internet and Ghanaian (Internet) culture, history, mining, and e-waste recycling. Susan Schuppli delved into the concept of material witness and forensics, referring, among others, to the 18-and-a-half minutes of machined silence from the 3 / SONIC ACTS ACADEMY 2016 REPORT Thomas Ankersmit, Homage to Dick Raaijmakers. Opening Sonic Acts Academy Watergate tape, and the mysterious case of Uranium-235. Ewa Justka performed with at Stedelijk. Photo by Pieter Kers her self-made noise-creatures and was interviewed about her methods. Bill Dietz and Robert The presented the work of the research-oriented American composer Maryanne Amacher and discussed their endeavours to set up the Amacher Archive, which will keep her ideas alive. “Great uplifting talks by @ On the second day, Heather Davis speculated on the reshaping of ecologies, on exvatika @morehshin @ toxicology, and the strange new mixes of plastics and natural materials (viruses, bacteria, stones), called the plastisphere. Davis made clear that the changes in the therourke at @SonicActs... global ecology not only raise environmental concerns: we ourselves are already feel like reclaim, rethink and ‘becoming plastic’ through the absorption of micro-particles and soluble additives in plastic products. #Additivism presented their ideas on the use of 3D printing for reimagine are the themes of social change, also showing Morehshin Allahyari’s work on the Roman and Assyrian #sonicacts.” sculptures in Iraq which were destroyed by ISIS. Katrina Burch mixed computer sound with mathematics and archaeology to speculate on, among others, the role cognition - Visitor Sonic Acts Academy plays when listening to sound. Ana Vaz, a filmmaker who has worked with Bruno Symposium Latour, presented her films, and used the idea of anthropophagy – a central concept in the Brazilian avant-garde – to reflect on her artistic ideas and methods. Anton Kats explored different uses of community radio and narrowcasting to give a voice to the site-specific, the everyday and the political. Sally Jane Norman rounded up both days, bringing together the richness of this choice of artistic research practices. The large auditorium in De Brakke Grond had an excellent live streaming set-up. Together with the continuously projected Twitter feeds, this added a large and engaged online audience to the symposium. On Saturday and Sunday more than 600 people watched the live stream. With a live audience of more than 200 people each day, the first edition of the Academy symposium has been successful. 4 / SONIC ACTS ACADEMY 2016 REPORT Daïchi Saïto ft. Jason Sharp, Sonic Acts at Paradiso. Photo by Pieter Kers Sonic Acts Academy at Paradiso The Saturday programme at Paradiso featured more than 20 performances and continued until the early hours. The programme was multi-faceted, and consisted of bass-heavy “I walked into this blind dance sets and immersive audiovisual performances and experimental films. Compiled and came out speechless— in collaboration with Juha van ’t Zelfde (Lighthouse, Viral Radio), the programme featured many upcoming international artists and producers from young collectives such as Janus, Barri's visual mapping NON, Endless, Staycore and Knives, based in cities such as Cape Town, Copenhagen, of Jebanasam’s sonic Brighton, Berlin, Oslo and London, which had never performed in the Netherlands before. The electronic music was fuelled by R&B, kuduro, grime, reggaeton, techno, kizomba, as well timeline of the universe as computer algorithms and field recordings sourced online. Young producers of complex from primordial goo to fiery electronic music like Nkisi, Lotic and Toxe energised the dancing in Paradiso. There were many highlights, one of which was certainly Jason Sharp’s (literally) breathtaking half-hour obliterated nothingness was bass-saxophone improvisation accompanying Daïchi Saito’s new filmEngram of Returning. more wonderful than I dare
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