Texts

Wild2000 http://www.year01.com/issue10/australia.html Magnus-Opus http://www.swr.de/swr2/audiohyperspace/engl_version/audioart/projects/magnus_opus.html SonicLandscapes + AudioNomad http://www.unsw.edu.au/news/adv/uniken/uniken0308/page4.html http://www.gmat.unsw.edu.au/snap/new/sonic_demo.htm http://www.isea2004.net/mainframe.php?id=hot_syren NoiseFloor http://news-service.stanford.edu/news/2003/february19/sound-219.html LifeBoat. http://www.life-boat.org http://www.aftenposten.no/kul_und/article835831.ece http://www.aftenposten.no/kul_und/article835830.ece http://numedia.scola.ac-paris.fr/index.php?rub=2 http://www.liberation.fr/page.php?Article=231716 http://www.isea2004.net/mainframe.php?id=hot_lifeboat Commentary in Realtime. http://www.realtimearts.net/rt58/kg_sound.html http://www.realtimearts.net/rt62/beap.html http://www.realtimearts.net/rt50/helyer.html http://www.realtimearts.net/rt58/kg_sound.html http://www.realtimearts.net/rt61/leggett_synapse.html http://www.realtimearts.net/rt46/kahn.html http://www.realtimearts.net/rt46/jones.html http://www.realtimearts.net/beap/percival_sonic.html http://www.realtimearts.net/beap/muller_small.html http://www.realtimearts.net/rt62/beap.html http://www.realtimearts.net/rt50/mowson.html http://www.realtimearts.net/rt51/priest_sound.html http://www.realtimearts.net/rt51/rackham.html http://www.realtimearts.net/beap/priest_sonic.html http://www.realtimearts.net/rt58/content.html http://www.realtimearts.net/rt55/gallasch_berlin.html http://www.realtimearts.net/rt48/soboslay.html Seed/OzCo http://www.ozco.gov.au/arts_in_australia/projects/projects_new_media_arts/nigel_helyer_-_seed/ Australian Sound Design Project http://www.sounddesign.unimelb.edu.au/web/biogs/P000087b.htm Helen Lempriere National Sculpture Award http://www.arch.usyd.edu.au/web/general/whatson/html/nigelhelyer.html Globe http://www.arts.monash.edu.au/visarts/globe/issue7/nhtxt.html http://www.arts.monash.edu.au/visarts/globe/issue11/mgtxt.html […]

The science and art synapse

Mike Leggett

With increasingly evil results to all of us, the separation is every day widening between the man of science and the artist…. [the artists] not only do not desire, they imperatively and scornfully refuse, either the force, or the information, which are beyond the scope of the flesh and the senses of humanity.

John Ruskin, 1883

Sonic ecology: SonicDifference Conference

Bob Percival

Plato’s Cave is the first place that I am metaphorically taken to by Nigel Helyer, the curator of the Sonic Difference exhibition and convener of this parallel conference. Plato had evoked a very powerful image, a gathering of puppeteers performing in a cave, their audience of chained prisoners with their backs to the fire looking at the shadows on the walls. There has been “an omission in history” however. Sound has not found a place in this allegory, despite the fact that humankind is “equipped to hear the invisible” with an sense organ that places us in the middle of a 360 degree sonic landscape. Helyer is determined to shift this perception that “the eye is the master and the ear is the slave”, as are the artists present at the SonicDifference conference. He proposes that there is a “dual alignment between technology and cultural discourse” that needs to be explored. I am also very relieved to hear that there is no established sonic theoretical discourse and sit back and look forward to being turned on to sound as the “perfect medium for changing my modus operandi in this changing world.”

Siege culture: SonicDifference conference

Gail Priest

Discussion of sound and its place in the hierarchy of arts practice frequently takes the position of an artform under siege. Despite or because of the fact that hearing is considered our most constant sense–the first developed in the womb, and that which we can not shut out through physical means–artists who choose to focus on sound as their primary mode of expression spend a lot of time defining and claiming ground, snatching priorities back from a visually focused culture. With the title SonicDifference: Resounding the World it is not surprising that this conference traversed this well trammelled territory, however the resulting discussions were intriguing in the depth and diversity of the positions taken.

A deep vibration: A small migration

Lizzie Muller
Standing in Shawn Decker’s sound installation A small migration is like being inside an exploded piano, or more precisely it is like standing inside the moment of explosion. The component parts of the work are suspended around me as though frozen in time. Still, yet full of potential movement; they generate a physical sense of imminence. At either end of the gallery large wooden frames support scaffolding bars rigged by chains from the ceiling. Piano wires are stretched across the gallery between the frames. At one end small striker motors are positioned alongside each wire; the installation responds to a series of computer-generated algorithms which trigger the motors that strike the wires.

A sound cause: Endangered Sounds

Jasmin Stephens

Dr Garth Paine’s highly conceptual installation, Endangered Sounds, raises the alarm concerning the implications of the increasing practice of trade marking and patenting sounds. His serious and meticulous enquiry urges vigilance should the air we breathe and through which sound travels become privatised.

Helyer’s progress: fusing art & science

John Potts

The tape was in the recorder, and it was a long tape. I knew Nigel Helyer would have a lot to say, because even before winning the Helene Lempriere National Sculpture Award earlier this year, he had been busy. And since taking out that prize he’d been overseas, interstate, here and there, on the move, working on projects, collaborations, schemes and dreams. So I came equipped with my trusty mini tape recorder.

Seeking resonance: Interview: Nigel Helyer: SonicDifference

Bob Percival

I had been looking forward to meeting Nigel Helyer; sculptor, sound artist and currently an Artist in Residence at the Paul Scherrer Institut in Geneva. Anyone whose reputation precedes them with such enthusiasm, respect and good humour must be special and, it has to be said, Dr Sonique is a great a.k.a.

Nigel has enthusiastically agreed to an interview and we meet over coffee in an appropriately noisy café in inner city Perth. Nigel is the curator of Sonic-Difference: Re-sounding the world, one of five exhibitions that make up BEAP 04. In the interview I was keen to explore his thoughts on the current developments in sound art as well as his curatorial thinking in his selection of works for the exhibition.

Magnus-Opus (Nigel Helyer, Jon Drummond. Australien)

Phone users be warned. Each time you dial a number, you have performed a musical piece and may have infringed the international copyright of the composers.

ISEA 2004 Layers of Performance
By by Stanislav Roudavski

People play with “the algorithmically controlled quadraphonic soundscape and its visual manifestations” in Sonic Spaces, an installation by Shawn Pinchback. Photographs by Stanislav Roudavski.

Aboard flight 18.45, London – Helsinki, people scan each other for the happy signs of genius. And no wonder. According to the unflinching authors of the official introduction to the 12th International Symposium on Electronic Arts, “ISEA2004 CRUISE is a great party where you can talk, dance, drink, eat, sunbathe and relax with the most innovative group of people that have ever set on sail.” Modest and convincing if you ask me.