Keynotes on sound art, media art, and sonic materialism
Video recordings of five RE:SOUND keynotes as well as a panel discussion on sound art curation.
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Video recordings of five RE:SOUND keynotes as well as a panel discussion on sound art curation.
How can a crowd of football fans use sound to protest a profit-oriented football machinery? By staying completely silent, apparently.
Two weeks ago, the German pianist Igor Levit took on an iconic marathon piece, fundamentally changing his own conditions as well as the listener’s.
Instruments struggle to voice themselves in the music of Christian Winther Christensen. His focus on small sounds and deep concentration is a perfect match for a time of silenced soundscapes.
Pulsar Festival 2020 took place under the shadow of Marcela Lucatelli’s ‘RGBW’. It’s time for a critical look at the systems of power.
Nature seems to have turned on us. That shows in Nordic contemporary music with sonic tales of decay, apocalypse, and protest.
With ‘Víddir’, a 60-minute composition of light and darkness, the Icelandic composer Bára Gísladóttir demonstrated the breadth of her imagination.
Neko3 is one of the most visionary ensembles at a moment where the contemporary music scene is changing rapidly.
How to structure a composition in real-time.
Creating the imaginary city through electronic and electroacoustic music in word and sound.
A site-specific day-long installation/performance in the Gothenburg harbour.
Of an ecological enactive perspective.
The process of making a piece for voice, Vietnamese zither đàn tranh, and electronics.
Just above the noise floor.
Central Africa, Central Europe, global networks.
A proposal for alternative radio histories.
A pen friendship between East and West.
The walser hamlet of San Gottardo.
Madness and humour coexisted on stage as Marcela Lucatelli completed her composition studies in Copenhagen.
For a festival that prides itself on its all-premieres programming, the 2019 Donaueschinger Musiktage felt more than a little stale.
The Young Nordic Music festival, one of the most impossible festivals in the world, is also one of the most enlightening ones.
Daníel Bjarnason’s new piece requires no less than three conductors. A result of the omnipresent Reykjavik school?
The current practice of the new format of the audio paper as well as its brief history.
On the sound in three resorts in Egypt, Tunisia and Turkey.
How women artists of colour working in electronic music in Berlin practice empowerment, survival and resistance.