Music Noise SoundArt
DeDicAted InternaTional ARtists!
Festival uden [ NL]
5 th edition
Preface Pjotr Tolmachov - PNEM SAF 2011
Toth Kina - PNEM SAF 2012
On 14 and 15 November 2015 the 5th edition of the annual PNEM Sound Art Festival takes place. An unique festival in the Netherlands, organized by the Platform New Experimental Music.
From the very beginning I was fascinated by sound. Of course we all grew up with music, but as usual we children were confronted with the fact that music wasn’t sound. No, no no. Music was art. Art was very difficult. You had to study for many years to do it the right way. They named it ‘playing’, but you needed to work hard and study your ass off. After lots of exams, judgements, tests
and critics, you could be finally accepted as a professional musician. As a young boy already I thought that was ridiculous. I loved playing and it should never degenerate into work. I became very naughty, brought most of the young Dutch composers together and told them that the basic ingredient of music was not only sound, but could also be color, movement, facial expressions, etc. We started the Mood Engineering Society (MES) and began playing with our freedom of expression. But the press and the critics were totally furious and all the young composers were terrified for their careers and stepped out of that mess. But I couldn’t be stopped. Years later I started a weekly radioshow in which everybody could send a cassette to the studio and I played it without any judgement. You heard me opening the
On a certain moment it was called Sound Art and all over the world festivals were organized where sound fanatics started meeting each other, making new plans and
projects with other dedicated sound creators and inspired audiences. Since internet, the whole world has become a sound art festival and can we be children again, playing with our world of unknown territories. I grew up in a neighborhood where a huge building was named PNEM (Provincial Electricity Company). Now it’s the name of a great Sound Art Festival that delivers a wonderful energy to everybody who dares to enter unknown territories. It’s great that we can play again. Willem de Ridder
envelope and entering the cassette unheard into the recorder. For the first time there was total freedom and I also started to make improvised radioplays that we sent for free to university stations in America, Canada and Australia. The All Chemix Radio Series where played a lot and soon became soundscapes and free sounds that brought us into another world. Thanks to the cassette, all over the world young people started to play with sounds in an unconventional way and distributing them to many countries. Soon there came illegal radio, the only place where you could listen to these free unusual sounds, because the normal world didn’t want to get involved in that noise at all.
Post Global Trio - PNEM SAF 2014
Karl Salzmann - PNEM SAF 2013
www.interactionalmedia.com Ken Byers is a multi–media artist from Newcastle UK. His interests include art, science & technology, new media philosophy, human machine interaction, interactive media and embodiment. He has shown in both UK and Internationally in USA, Russia, Eastern and Western Europe and recently at Asia Siggraph 2012, in the ‘Emerging Technologies Exhibition’. He studied Fine Art at University of Northumbria (1990) and later Media Production (Film & TV) University of Sunderland 2006. He is currently completing a PhD in ‘Body-Movement Interactive Digital Audio/Visual Installations’. His current interests are in interactive installations, 3-D moving image, new media installations and sound art.. He is currently working as an artist/artist researcher, with special interests in perception and consciousness, embodiment & technology, interaction design, human- computer - interaction, new media aesthetics.
Body-Movement-Interactive-Audio-Visual is a body interactive sound and moving image piece that explores the relation between sound and the moving 3D image. The work that I would like to present is a collection of ideas that I have arrived at during 3 years of practice led PhD. It involves bodymovement-interaction with 3D models and a collection of software synthesizers. Using Max Visual Programming environment, utilizing the Kinect sensor. A key theme in the performance is the relationship of the body with the audio-visual and the 3D image with sound, to develop a more integrated meaningful aesthetic. Its a form of virtual enhancement of the senses. It explores a more ‘haptic’ mode of expression, grounded in bodily feeling. The presentation is a combination of my interest in media philosophy and body perception theories. It explores the bodies engagement with technology.
â€˜Balgereiâ€™ is a performance from the PushPull ensemble with three similar instruments called PushPull. PushPull was at first created as a prototype as part of the 3DMIN project and originally developed for a concert at the Modality Meeting in Amsterdam (April 2014). Intended to be just a one week lasting internal workshop, the set up seemed to be promising enough to develop the prototype further. Referring to its exterior appearance, it looks like a traditional instrument like the accordion. We aimed to establish an interface triggering imagination and engagement of both, the musician and the audience. A tangible object enabling a physical relation to the created sound and necessitating a set of movement patterns. We think that in the characteristic air movement and the affordances offered by the object itself
www.3dmin.org lies a compelling quality of expression, which was also observed by the makers of more recent electronical instruments like the accordiatron (M. Gurevich & S. Von Muehlen) or the squeezevox [sic] (P. Cook & C. Leder, both 2000). Central control element is a bellow combining inertial sensor data with mechano-analog sound input and digital synthesis. During the performance the ensemble PushPull touches chaotic elements as well as rhythmical patterns, while shifting between audio feedback and harmonic structures. Moving the hand piece activates the bellow. Hand movements restricted by the limitations of the bellow turn into gestures and create air flow over a microphone. Inertial sensors in the hand piece together with a thumb stick allow for continuous sound shaping, while four buttons complete the setup to trigger changes or change between synthesis engines.
Radio Approxim PNEM
The emergence of Radio Approxim (Uden 2004), like previous developments in modern music, is largely tied to the jazz experience. This idea can be seen in the approaches of the musicians themselves, who reveal directions that are more intellectual, less danceable and less marketable to the traditional audience. Approxim uses itâ€™s own idioms, and like free jazz, it places an aesthetic premium on expressing the character or attitude of the participant, as opposed to the classical tradition in which the performer is seen more as expressing the individuality of the instrument. Approxim stays away from traditional techniques but elicits unconventional sounds from the instruments. In Approxim, the dependence on a fixed and preestablished form is eliminated, and the role of improvisation is correspondingly
PNEM SoundArtFestival 6
increased. The non-music institute Radio Approxim is a response to experiences with improvised jazz. Hence the warning as the caption of each sound from this company: Probably Not Your Kind Of Jazz. Performing in this ensemble means: not to be bothered by any pre cognizance. This unconventional, not approachable ensemble consists of several members in changing compositions, reinventing the technique of improvising in the true sense of the word. The members of Approxim where also founder of the Platform New Experimental Music, the organization behind the PNEM Sound Art Festival.
Unlimited). It traces its roots to a collaboration between Renzo and the Royal Conservatoire of Music of The Hague (The Netherlands) in September 2012 (by invitation of the city of The Hague) and features vocal phrases by former Conservatoire students Leah Uijterlinde and Egle Petrošiūtė. Renzo Spiteri is “an artist who constantly surprises” and whose music “touches the soul directly”. As an internationally respected sound artist, composer and musician, Renzo is renowned for his artistic versatility, creative use of sound and unlimited modes of expression. He shares his work base between the UK and Malta, although his own projects as well as collaborations with artistes in all genres of artistic expression take him to different countries around the world.
Based on innovative sound art, intricate narrative and an array of emotions, Quintessence is an immersive experience at the forefront of artistic experiments in digital age storytelling technique. This solo performance by Renzo Spiteri engages a strong element of improvisation and a sculptural array of acoustic instruments, found large-scale objects and live electronic manipulation, and is designed to challenge the audience to reconsider what sound can mean and how the boundaries of performer and spectator, organic and inorganic, sound and instrument are rendered fluid and all encompassing. Quintessence was premiered in February 2015 at the Royal Northern College of Music in Manchester (UK) in partnership with Future Everything Festival 2015 (presented as Sounds
Bezette Stad Revisited
www.stichting.com www.biancaholst.nl www.herowouters.nl
“Occupied City” is specifically made for PNEM Sound Art Festival by Stichting Com. In this composition, based on the poems of Paul van Ostayen, Vluchtoord Uden and the current influx of refugees is a leading theme. Paul van Ostaijen (1896 - 1928), lived in Antwerp occupied by the Germans during the First World War. He was a progressive member of the Flemish movement and was sentenced to imprisonment for eight months in 1920. To avoid prosecution, he fled to Berlin, where he made his “graphic” version of the anthology “Occupied City”. ‘Vluchtoord Uden’ was put into operation in February 1915 to accommodate thousands of Belgian refugees during World War located near PNEM Soundart location. Vluchtoord was not a
concentration camp but an autonomous village with a kitchen, education- and medical services and religious care and job creation. The ‘Foundation Composers on Pristine Music’ (www. stichting.com) developed its own style in the presentation of electronic music. Bianca Holst (synths, vocals) has a strong personal tongue creating ‘a world of sounds’. Her style moves from subdued and meditative to theatrical and violent, taking the audience to inner landscapes and uncharted territory. Hero Wouters (synths, film) is a master of inventing sounds and very innovative in the use of his quirky instrumentation. His compositions are thoughtful, witty and full of vitality.
Frauke Berg and Anja Lautermann are observers of the city. Their eyes are drawn by those gestures of the crowd which reflect the unconscious collective voice, that of the supposed individualists.To see with your ears and to hear with your eyes. Through drawings and music they translate the urban space into an audio-visual reflection.That defines the approach of the approximately 20-minute-long performance, a collage on the theme of careful listening and precise observation. Through drawings and sound – with some electronics and animation thrown in – the two artists, in a very personal way, measure the pulse of the city. In her artistic works Frauke Berg interweaves animations and drawings with her voice and electronic sounds. She published a vinyl record “Ten little Bugs” on the Düsseldorf independent label “Slowboy Records”. Together with composer and musician
Anja Lautermann she founded the soundperformance project “Studium:Stadt” using field recordings mixed with voice, analogue sounds an animations. Anja Lautermann explores the different sonic possibilities of these sound generators, calling on both traditional and experimental playing techniques and different musical styles. A recurrent theme in her work is the expansion of the range of the “soft” sounds - such as those of the flute - through the use of electronics, to arrive at a wider instrumental use. Anja Lautermann is a member of the WELTAUSSTELLUNG ensemble, with whom she has performed in numerous concerts, installations and projects in Germany and abroad. Aside from regular solo performances, she also collaborates with video-, performance- and visual artists.
www.studiumstadt.jimdo.com www.anja-lautermann.de www.fraukeberg.de
h e wit To se ars e your r o hea and t our y with eyes.
The Feedback Gents DE
Out Of The Wilds
www.aerophonium.com In this performance we are using musical feedbacks to generate sound. Space and audience are naturally involved in the evolution of the feedback sound. With resonating bodies like tubes, cups, cans, hands… we are scanning the acoustic terms of the particular environment. Nodes of oscillation, absorbation, reflectivity are made tangible in the room. Robert Schleisiek / Thilo Schölpen Ever since they were young, these two have been making music together. They both play piano, and later studied music at the Hogeschool voor de Kunsten, in Amsterdam. They have worked together and separately as musicians and composers for theatre and film. Additionally, they give concerts in experimental/electronic environments and design audiovisual sculptures. Their
inclination for feedback inspired them to develop the Feedback Aerophonium. “..Picking up bottles, jars, cans, water bottles and drainpipes they produce an extraordinary sound. They move in and out of the audience, using objects they have brought with them, to create sounds with microphones. The energy between the two of them is palpable and effortless, moving from quiet clicks and ticks, to penetrating drones. I guess that every performance they do is unique, like two young boys, discovering a darkened cave and “telling” the audience what they have found through their sound...” Minesweeper, Deptford 18th October 2014 by Molly Bloom
Upcycle Roundup - PNEM SAF 2014
PNEM geluidsroute PNEM Sound Art Maashorst (PSAM) is a new initiative created by PNEM Soundartfestival. Sound art artists from around the world are presented during a walk in a specially marked route. The corresponding ‘app’ will show you how to follow the path through the woods. The route (also available on paper with a traditional map) is being distribuated in various visitor centers and tourist offices free of charge. In the next few years, the route will be extended over Maashorst Nature Reserve, which stretches across the northern municipalities in Brabant (Uden, Landerd, Bernheze and Oss, ± 3500 ha.). PNEM connects the works of Soundart with the infrastructure of De Maashorst. The area is covered with hiking and cycling trails, including the Slingerpad that starts at Vestzaktheater Naat Piek Uden, home of the annual PNEM Sound Art Festival. Besides a variety of natural sounds, with the app there is the option to listen to soundart. In various Soundart pieces sounds connect city and country, man and nature, cultural history and contemporary art. At the same time they connect the listener with artists in other locations, recording studios, stages, cities and natural sites around the world, providing an outlook on experimental Soundart in a wide variety of Soundart genres. The PSAM route is becoming increasingly enhanced with innovative sound projects that emanate from the international PNEM Sound Art Festival which is held annually in November at Vestzaktheater Naat
Piek. The compositions will not only be different in length and tone, but also in the way they can be listened to: walking, cycling, sitting under a tree or near the water. For each project, information shall be given about the composition and the artist, but also about the specific locations in nature and about flora and fauna. PSAM is the mobile application that can inspire you and guides you throughout a soundfull journey in the Maashorst. Enrich and enlarge your senses: discover singing birds in the forest while you walk the market of Marrakech? See deer while listening to cosmic tracks from Canada?
1 Sandrine Deumier+Alx P.op FR Mdr_test508 2’38 2 Bart van Dongen NL Gelukzoekers, zo noemen ze ons 5’38 3 David Rogers UK Dungeness Tower 3’32 4 Osvaldo Cibils UY / IT Soundart 29 april 2015h 3’30 5 Sam Marshall UK Caught In Transmission 6’53 6 David Prescott-Steed AU Miscommunication Solo 9’05 7 Katherine Trimble USA We’re Not Gonna Make It 9’03 8 Simón Pérez AR Las Cifras y Las Palabras 8’00 9 Barry O’Halloran IE Triptych 6’22 10 Alan Dunn UK The Black Forest 2’30
Vluchtoord Uden www.vluchtoord-uden.nl
A special place within the soundartroute is occupied by Vluchtoord Uden. A century ago, thousands of Belgian refugees came to this part of the Maashorst, north of the Dutch village of Uden. Being refugees from the Great War in their own country, they developed all kinds of cultural activities in the refuge, which became one of the few bright spots in a dark period in European history. Unfortunately nothing is left of the many typical Belgian studios, workshops, theater and music performances culture that flourished here for quit some years. The only visible reminder that still exists is the contour of the Belgian velodrome. For this particular site Bart van Dongen wrote a new work entitled “Fortune hunters, as they call us,” an interactive soundscape tailored to the landscape. The intangible heritage of the refugee problem is depicted by taking it to the current situation. Van Dongens soundscape is both to hear on the track in Uden as on the running track of the Provincial Domain Dommelhof at Klankenbos Neerpelt (B). It unites the two spots on both sides of the border in one composition.
Bart van Dongen created an audiowalk on the old velodrome Vluchtoord-Uden. “Fortune hunters, that is what they call us”. During World War I approximately a million Belgians refugees fled across the border to the Netherlands. Between 1914 and 1918 many Belgian refugees villages on the Dutch side of the frontier where build. One of them was Vluchtoord Uden in North Brabant. About 16,000 refugees found their way to the heath fields, north of the village Uden. In Vluchtoord people found shelter and more. The only thing that remains now is the contour of the Belgian cycling track (de wielerbaan) in Uden. Bart van Dongen made a soundscape inspired by both the historical and the current refugee problem. His soundscape is to be heared on the track in Uden as wel as on the running track of the Provincial Domain Dommelhof Neerpelt at Klankenbos. He unites the two spots on both sides of the border in one composition. The soundscape includes three tracks: Cycling: Represents the track in the
Bart van DongenNL
Vluchtoord of Uden / Voice brings the past in relation to current events / Organ: stands for psychological warfare. In the First World War, ultra low noise (17 Hz) used to disorient soldiers.
in common. A search for new music, or at least new sounds. He does not exclude anything and there is nothing out; seemingly opposing forces, he manages to connect and encourage.
Bart van Dongen (1959), composer, musician and conceptual artist, won the 2007 biennial Brewery Cultural Prize of the city of ‘s-Hertogenbosch. From the jury: “A constant in his work is that composition, improvisation and concept are always a trinity. [...] The act locally is therefore an important part of his art, “Bart van Dongen is the initiator of various projects, which all have one thing
This creation was made possible by Beste Buren, in collaboration with Musica vzw, Impulse Centre for Music.
Geluk , rs zoeke en em zo no s ze on
The Black Forest
‘The Black Forest’ is a harrowing 2’30” composition from a set of found recordings originally labelled “Recordings made of traumatised daughter, aged 10, The Black Forest, Sony Ericsson mobile phone, 2007.” Alan Dunn acquired these recordings five years later and due to the intimate content, ‘The Black Forest’ is only to be listened to on headphones in the woods. Alan Dunn studied at Glasgow School of Art and The Art Institute of Chicago and completed a PhD at Leeds Beckett University on the relationship between sound art and the everyday. His curated 10xCD opus ‘The sounds of ideas forming’ brought together content from Andy Warhol, David Bowie, Yoko Ono, Einstürzende Neubauten, Carol Kaye and Douglas Gordon, alongside writers and art students.
Barry O’Halloran Triptych
www.barryohalloran.bandcamp.com Triptych is a compositional exploration of the timbral evolution of a single percussive sound. Influenced by Schoenbergís Klangfarbenmelodie, this piece juxtaposes various extracts from throughout the soundart evolution in an attempt to illuminate the rich timbral variation of the sound, from instant to instant. The work is divided into three sections, each of which provides a differing temporal perspective on the sound: from micro level variation, where successive individual instances of the sound are held in suspension and gradually layered on top of one another; to a granular reconstruction of the sound aggregated timbre from non-successive samples of varying size; to a temporal compression of the sound so it appears as pitch with its own unique timbre.
www.myspace.com/dprescottsteed David Prescott-Steed is a sound artist, writer and urban explorer based in Melbourne, Australia, and an Academic Fellow at the Academy of Design, where he teaches art history and visual culture studies. David has participated in new music events internationally, and is an ongoing contributor to the Kinokophonography project. ‘Miscommunication Solo’ belongs to a broader experimental sound-practice that spans rhythmic noise, electronic minimalism and musique concrète, improvising a counter-industrial language via foundsounds and technological impropriety. In this instance, Miscommunication Solo makes a simple, perambulatory homage both to what Matthew D. Lamb calls “the emancipatory potential of misuse” (Misuse of the Monument, 2014, p. 107), and to Paul Hegarty’s notion of ineptness as “an opening of sound” (Noise/Music, 2008, p. 89).
www.davidrogersstudio.wordpress.com www.metamediauk.wordpress.com David Rogers [metamedia] experiments in reinterpreting the landscape, reexploring the Land Art movement through sound, recalling the works of artists such as Richard Long or Robert Smithson who brought artifacts from the natural environment into a museum environment, thereby translating qualities of the landscape into a new context. Reexploring the natural environment itself as potential for artworks.
Little Doomsdays: We’re Not Gonna Make It
N°1-5 installation on monitor Soundart 29 april 2015h
‘Little Doomsdays: We’re Not Gonna Make It’ is a suite of three musical narratives–Sun Blood, Water Rises Over the Sleeping Woman, and The Earth Opens Up–depicting doomsday scenarios. About the futility of preparing for the worst when we’re hanging by a thread of a fingernail in the cosmic scheme. Katherine Trimble is a cellist, composer and visual artist. She earned a BFA from the Rhode Island School of Design (2006) and an MFA from the School of the Art Institute of Chicago (2012), and has performed and exhibited her work audiovisual work internationally. Her installations and performances transform spaces, aiming to draw out connections between the microscopic and monumental.
www.osvaldocibils.com Osvaldo Cibils (1961) is an Italian artist born in Montevideo, Uruguay. He lives in Trento, Italia. His artworks are oriented to drawing, soundart, videoart and the development of experimental ideas mainly. http://osvaldocibils.com Artist statement: “During the realization of my artworks I limit myself to a few movements, repeated, with little variations: the hands neutralizing the materials, the eye straight in the action, the breathing contained and brief, the head rigid and the thoughts compressed based on my artistic logic.”
Sam Marshall Caught In Transmission
Sandrine Deumier + Alx P.op Mdr_test508 FR
With her dual philosophical and artistic training, Sandrine Deumier constructed a multifaceted poetry focused on the issue of technological change and the performative place of poetry conceived through new technologies. Using material from the word as image and the image as a word vector, she also works at the junction of video and sound poetry, considering them as sensitive devices to express a form of unconscious material itself. The process of writing and the mobile material of the image function as underlying meanings of reflux which refer to the real flickering and to their reality transfers via unconscious thought structures. After playing in various small rock formations in the early 90s, Alx P.op began MAO circa 1999. At this point it is mostly electronica. In 2003, he met and joined the label Martel En Tête, who introduced him to the Breakcore. In 2008, he created his own Subeclectic Records label, which is essentially centered around experimental electronic music.
Sam Marshall is a London based visual artist and musician. Marshall’s work is concerned with the manipulation of the senses of the listener/ viewer, and through sonic and visual abstraction he explores this perceptive distortion. His project entitled “Peripheral” is an ambient soundscape of subtle tones and harmonies, that slowly raise in and out of audibility. The project aims to heighten the senses of the viewer, asking them to consider their engagement with, and awareness of their surroundings. Here the artist creates an immersive, and atmospheric environment for us to engage with, whilst exploring how sound itself can transform the ambience of our surroundings.
Las Cifras y Las Palabras
Simón Pérez was born in Argentina, in 1990. He studied analysis and acousmatic composition with Elsa Justel in Mar del Plata. He studied composition in the National University of La Plata, and in the National University of Quilmes, and was involved in several seminars of acousmatic and computer music. His works was mentioned and played in Argentina, Belgium, Canada, Chili, France, Germany, Spain and USA. Las cifras y las palabras is an acousmatic stereo piece. The main material was taken from a washing machine, structuring the form of the piece, and taking the control of our space, looking at others dimensions. ‘I work with different technical approaches of the spatial perception like doppler, filters, panning, intensity, reverb, recordings space and gestures movements of the objects’
www.dmarc.ie/people/phd-students/alan-dormer Residing in Limerick, Ireland, Alan Dormer’s work with sound crosses multiple mediums including installation, film, dance, theatre, and composition. Currently perusing a Ph.D. in sound art at the University of Limerick, his research and practice, focuses on the relationship between sound, place, memory, and identity. Works, presented as site-specific installation and public art, use acoustic memory and sonic relocation in an attempt to address a sense of place. Recent work has also included, sonic interventionism in public space and sound design for screen dance and theatre. He is currently working on a series of installations that, through sound, explore the relationship between mythology, memory, and landscape. The installation combines custom applications with proximity based beacon technology to produce real time audio manipulation based on user proximity. Using Estimote beacons, placed, or simply attached to trees within the woodland area the work will be installed on the day prior to the festival. The installation, which uses a total of six beacon as its infrastructure will have no impact of the woodland.
U DYS HET
Vision II blends elements – including two graphic scores by Robert Moran and the soundscape of the city of Venice – which came together accidentally, as objects of a dream and a vision. Not the vision of the world, but the counterpoint between appearance and anatomy of the image in its sound quality. First premiere at 56th Music Biennale, Venice - 2012 (Julian Scordato, Thierry Coduys) Julian Scordato is a composer, sound artist and music technologist. He currently works as a Research Assistant for the SaMPL (Sound and Music Processing Lab) at the Padua Conservatory of Music. His electroacoustic music and audiovisual works have been performed in Europe, Asia and America. As an author and speaker, he has participated in conferences, presenting results related to interactive performance systems, generative music and feedback audio networks.
Dickie Webb operates from a nomadic practice migrating between the Hemispheres. Due to this continual migration Webbs’ life has become dislocated from societal norms. Current research uses “non-places” and “heterotopias” as initial starting points. Webb uses these transient sites, as a means to reveal anomalies, inaccuracies similar to those displayed within human personalities. Using space as a metaphor and as a medium Webb looks past the obvious and explores the liminal qualities, discovering this blurred arena from an outsiders perspective. U-DYS-HET is an audio/visual digital collage; glitch sound and image samples were taken from digital photographs of public parks within the city of Yerevan. These parks resembled past, present and future ideals imposed on or fostered by the Armenian people.
La Cosa Preziosa The edge of the world
“She always had that about her, that look of otherness, of eyes that see things much too far, and of thoughts that wander off the edge of the world.” - Joanne Harris Filmed by the Atlantic Ocean at Doonbeg beach, West Co. Clare (Ireland). Tubular resonance field recorded on location. La Cosa Preziosa is a sound artist and field recordist originally from the south of Italy and based in Dublin, Ireland. With an academic background in literature and drama, her work focuses on the creation of original soundscapes inspired by abstract narratives and composed exclusively using her own field recorded material. The ‘precious thing’ of her pseudonym refers to the integrity of the raw sonic material used, and more generally to the ineffable quality of sound as medium. Sound art awards include the ‘Europe: A Sound Panorama’ juried prize (Goethe Institut Belgrade, Deutschland Radio Kultur, ZKM, Radio Belgrad, EBU Ars Acoustica Group), a Culture Ireland Travel Award (2011), a Dublin City Council Artist Bursary for Music (2012) and of two Migrant Artists on Ireland bursaries (CFCP, 2013 and 2015).
Matthew Schoen CA
www.cargocollective.com/MatthewSchoen The work of Montreal artist and composer Matthew Schoen extends towards various media such as video, installation, and electroacoustic music. A desire to renew audience experience while blurring the lines between music, sound art and visual arts has accompanied his recent creative process. ‘Vehicles’ is a video and sound work in which an imagined structure is revealed from its smallest components to the larger and more complex entities they compose. The accompanying music and sound reinforce a narrative ranging from a place of intimacy to a growing vastness, while echoing the visual content of the video. This work is loosely inspired from the essay ‘Vehicles’ written by Italian-Austrian cyberneticist Valentino Braitenberg.
Lex Raijmakers NL
PNEM Sound Art Festival 2015 is made possible by: ArtWorksAndMore Mts Beste Buren Earconia International Gemeente Uden Musica vzw Impulse Centre for Music VĂ¤fge Ltd
www.lexraijmakers.nl Roots, an interactive installation portraying the weather. Throughout elements of natural interaction visitors can interact with the installation. The weather outside has a great effect on peoples mood. But with this installation itâ€™s the other way around. You influence the weather with your mood.
Festival organisation Antoon Versteegde Dan Hoevenaars Jan Jongedijk Karel den Biggelaar Victor Notermans PNEM SoundArtFestival Pnemstraat 1a NL-5406 XA Uden, Nederland email@example.com www. soundartfestival.nl Next Open Call May 1 - July 31, 2016
Sound Art Festival
2DaYS of SoUNd NOiSe aNd MusiC
INSTALLATIONS Alan Dormer IE Lex Raijmakers NL
LIVE SUNDAY 15 NOV Bart van Dongen NL PushPull DE Radio Approxim NL Renzo Spiteri MT Stichting COM NL Studium:Stadt DE
LIVE SATURDAY 14 NOV Ken Byers UK PushPull DE Renzo Spiteri MT The Feedback Gents DE
Saturday & Sunday
VIDEO PROJECTS Dickie Webb UK / NZ Julian Scordato IT La Cosa Preziosa IE Matthew Schoen CA Osvaldo Cibils IT / UR WOOD WALK EXPERIENCE Alan Dunn UK Barry Oâ€™Halloran IE Bart van Dongen NL David Prescott-Steed AU David Rogers UK Katherine Trimble USA Osvaldo Cibils IT / UR Sam Marshall UK Sandrine Deumier+Alx P.op FR Simon Perez AR
Published on Nov 5, 2015
On 14 and November 15, 2015 the Platform for New Experimental Music celebrates its first lustrum with the fifth PNEM Sound Art Festival in U...