15/09/2020
EPISODO 07 : Sound Reasons
Yokohama Triennale 2020 | 16 - 27 September | Yokohama Museum of Art |
2 Sound Installation and live performances (online)
Presentation/ talks along with directed listening sessions.
Indian sound artist Ish S and Indonesian artist Venzha CHRIST present their sound installations as a part of the EPISODO - Sound Reasons, at the Lecture Hall of the Yokohama Museum of Art. This is the first in the Sound Reasons series to be held in Japan.
Opening: Wednesday, September 16 | Walk throughs and Live Performances ONLINE |
Dates: September 16 – 27, 2020 *Closed: September 17 and 24.
Venue: Lecture Hall, Yokohama Museum of Art
We will be doing various other events with and before the installation dates like live performances, radio shows, talks etc. Please refer to the website and this space for updates.
Curatorial Introduction
An invisible immateriality, traveling, dissipating rapidly, embedding in somatic ways: Sound constitutes memories of encounters and moods, fears and limits, encompasses both unknowable and prohibited. It envelops, asks for discernment of intensity or withdrawal of its presence. The journey through mimicry, translucence, solitude, and togetherness is enlisted through the transversal qualities experienced in and with sound, asking us to become agile, move across senses, across membranes, across thresholds, beyond our finitude, towards an infinity of scales of becoming. To concentrate and attenuate our attention to this porous, boundary-crossing through mediums and cultures of listening and producing sound, we offer this Epis?do, inviting sound artists to awaken our sensing of extensive and expansive worlds. - Media collective
Artist’s statement
By Ish S
The world is heard; its sonic space and time is generated through the complex unity of listening and perception. At Sound Reasons this listening and the phenomenological become the foci for innovative and generative practices as strategies of engagement to explore different creative and curatorial landscapes. The center point here is Techne, which in ancient Greek philosophy signifies ‘a mode of knowing’, being able to see, hear, inhabit and experience in the widest sense, and essentially, apprehend what is present as a continuum and the phenomenal. At Sound Reasons the ‘essence of knowing’ as Alethia, which brings into the present the processes and activities of creative reflections and abstractions, is the focus.
Sound as a medium is very dynamic and its activities and forms can be experienced and appreciated through a continuous engagement over time. The characteristics of continuity and redefinitions are complex, yet vital, to positioning Sound Art and contemporary electro acoustic music as truly post-modern forms. Sound Reasons, apart from its origins in sound and music, has at its core the processes of amalgamation of evolving phenomena, research and Praxis. It is a space for creative and sonic entanglements, and it has taken on a lot of different shapes and forms. Interestingly, in ‘Logical semantics’, or in language so to speak, ‘Sound Reasons’ stands for (or means) something reliable and sensible. Therefore, in praxis, Sound Reasons, just like Techne, brings forward knowledge-based experiences into the world, into the present, out of concealment and into their ‘multiplicity of appearances’. This aspect is closest to the philosophical concept of Rhizome as developed by Deleuze and Guattari, which apprehends this multiplicity as a study of Phenomenology (Husserl & Merleau-Ponty), and in Sound Reasons we engage with it via experiences, creations, preservations, explorations, abstractions and perceptions.
Having this multi-faceted research and praxis-based approach as a festival, music label, studio and production space, Sound Reasons is engaged with numerous curatorial as well as creative platforms. Over the last decade we have managed to represent around 90 artists. The experience of the works and activities we have engaged outline a unique spectrum of the many possibilities of sound art, electronic and contemporary music practices. At Sound Reasons we always want to initiate such varied approaches and processes. This is possible only through creative and curatorial explorations along with inter-media intersections as we sonically engage with the world and our lived experiences of the same.
Venzha CHRIST
EVOLUTION OF THE UNKNOWN VII
8 DIY Antennas, 8 DIY Signal Receivers, 4 speakers, 2 Frequency Visualisations
The first installation for the Episodo SOUND REASONS is by Venzha Christ, named ‘Evolution of the Unknown VII’. It is a graceful sound sculpture that uses DIY receivers to convert, synthesise and articulate astronomical radio waves from space into an audible spectrum. As a work of playful poetry, its structural complexity opens like a sonic bloom to reveal the phenomenological and intricate series of relationships of astronomical radio waves, with its artistic abstractions as an ongoing interplay between the radio waves, spatiality, sonifications, synthesis and the essence of the universe as intersections of being and listening.
Ish S
AN OCTAGON AND A SQUARE II
12 Channel Spatialised Sound Installation
The second installation, called ‘An Octagon and a Square,’ by me (Ish S) is a sonic horizon, which constitutes heterogeneous sound fields that can be inhabited and experienced from both the inside and outside of the installation. There are various layered sounds composed and synthesised for the installation, therefore the movement of the listeners within the installation space and their respective positioning as sonic observer plays an important part in the perception and the listening(s) of the work. I have coined this spatial phenomenon as “Sonic Sculpting in Space”. Here, the sound fields are always in motion as they reflect, oppose each other and at times exchange positions, flip and juxtapose overtones and movements. There is a folding and unfolding of the phenomenal, the opening up of multi layered listening fields that are brought into ‘various clearings’ both within the space and outside of it. This spatially illustrates some of the very intricate melodic intervals (1) of Indian classical music within the contemporary format of a 12 channel sound art installation.
More importantly this installation is directed towards the phenomenological, and it brings the visitor/ observer into the complex fields of dynamic listening processes and closer to the finer points of ‘Indian classical music’ (2), like that of the ‘Rasa. (3) Based on minimalism and sound spatalisation, all the locations within the installation provide for infinite listening experiences as these perspectives and the layered sonic phenomena of inhabiting a space are sculpted as a sound installa
2 Sound Installation and live performances (online)
Presentation/ talks along with directed listening sessions.
Indian sound artist Ish S and Indonesian artist Venzha CHRIST present their sound installations as a part of the EPISODO - Sound Reasons, at the Lecture Hall of the Yokohama Museum of Art. This is the first in the Sound Reasons series to be held in Japan.
Opening: Wednesday, September 16 | Walk throughs and Live Performances ONLINE |
Dates: September 16 – 27, 2020 *Closed: September 17 and 24.
Venue: Lecture Hall, Yokohama Museum of Art
We will be doing various other events with and before the installation dates like live performances, radio shows, talks etc. Please refer to the website and this space for updates.
Curatorial Introduction
An invisible immateriality, traveling, dissipating rapidly, embedding in somatic ways: Sound constitutes memories of encounters and moods, fears and limits, encompasses both unknowable and prohibited. It envelops, asks for discernment of intensity or withdrawal of its presence. The journey through mimicry, translucence, solitude, and togetherness is enlisted through the transversal qualities experienced in and with sound, asking us to become agile, move across senses, across membranes, across thresholds, beyond our finitude, towards an infinity of scales of becoming. To concentrate and attenuate our attention to this porous, boundary-crossing through mediums and cultures of listening and producing sound, we offer this Epis?do, inviting sound artists to awaken our sensing of extensive and expansive worlds. - Media collective
Artist’s statement
By Ish S
The world is heard; its sonic space and time is generated through the complex unity of listening and perception. At Sound Reasons this listening and the phenomenological become the foci for innovative and generative practices as strategies of engagement to explore different creative and curatorial landscapes. The center point here is Techne, which in ancient Greek philosophy signifies ‘a mode of knowing’, being able to see, hear, inhabit and experience in the widest sense, and essentially, apprehend what is present as a continuum and the phenomenal. At Sound Reasons the ‘essence of knowing’ as Alethia, which brings into the present the processes and activities of creative reflections and abstractions, is the focus.
Sound as a medium is very dynamic and its activities and forms can be experienced and appreciated through a continuous engagement over time. The characteristics of continuity and redefinitions are complex, yet vital, to positioning Sound Art and contemporary electro acoustic music as truly post-modern forms. Sound Reasons, apart from its origins in sound and music, has at its core the processes of amalgamation of evolving phenomena, research and Praxis. It is a space for creative and sonic entanglements, and it has taken on a lot of different shapes and forms. Interestingly, in ‘Logical semantics’, or in language so to speak, ‘Sound Reasons’ stands for (or means) something reliable and sensible. Therefore, in praxis, Sound Reasons, just like Techne, brings forward knowledge-based experiences into the world, into the present, out of concealment and into their ‘multiplicity of appearances’. This aspect is closest to the philosophical concept of Rhizome as developed by Deleuze and Guattari, which apprehends this multiplicity as a study of Phenomenology (Husserl & Merleau-Ponty), and in Sound Reasons we engage with it via experiences, creations, preservations, explorations, abstractions and perceptions.
Having this multi-faceted research and praxis-based approach as a festival, music label, studio and production space, Sound Reasons is engaged with numerous curatorial as well as creative platforms. Over the last decade we have managed to represent around 90 artists. The experience of the works and activities we have engaged outline a unique spectrum of the many possibilities of sound art, electronic and contemporary music practices. At Sound Reasons we always want to initiate such varied approaches and processes. This is possible only through creative and curatorial explorations along with inter-media intersections as we sonically engage with the world and our lived experiences of the same.
Venzha CHRIST
EVOLUTION OF THE UNKNOWN VII
8 DIY Antennas, 8 DIY Signal Receivers, 4 speakers, 2 Frequency Visualisations
The first installation for the Episodo SOUND REASONS is by Venzha Christ, named ‘Evolution of the Unknown VII’. It is a graceful sound sculpture that uses DIY receivers to convert, synthesise and articulate astronomical radio waves from space into an audible spectrum. As a work of playful poetry, its structural complexity opens like a sonic bloom to reveal the phenomenological and intricate series of relationships of astronomical radio waves, with its artistic abstractions as an ongoing interplay between the radio waves, spatiality, sonifications, synthesis and the essence of the universe as intersections of being and listening.
Ish S
AN OCTAGON AND A SQUARE II
12 Channel Spatialised Sound Installation
The second installation, called ‘An Octagon and a Square,’ by me (Ish S) is a sonic horizon, which constitutes heterogeneous sound fields that can be inhabited and experienced from both the inside and outside of the installation. There are various layered sounds composed and synthesised for the installation, therefore the movement of the listeners within the installation space and their respective positioning as sonic observer plays an important part in the perception and the listening(s) of the work. I have coined this spatial phenomenon as “Sonic Sculpting in Space”. Here, the sound fields are always in motion as they reflect, oppose each other and at times exchange positions, flip and juxtapose overtones and movements. There is a folding and unfolding of the phenomenal, the opening up of multi layered listening fields that are brought into ‘various clearings’ both within the space and outside of it. This spatially illustrates some of the very intricate melodic intervals (1) of Indian classical music within the contemporary format of a 12 channel sound art installation.
More importantly this installation is directed towards the phenomenological, and it brings the visitor/ observer into the complex fields of dynamic listening processes and closer to the finer points of ‘Indian classical music’ (2), like that of the ‘Rasa. (3) Based on minimalism and sound spatalisation, all the locations within the installation provide for infinite listening experiences as these perspectives and the layered sonic phenomena of inhabiting a space are sculpted as a sound installa
Indian sound artist Ish SHEHRAWAT (Ish S) and Indonesia …
