[Image: Garrett Phelan] Garrett Phelan works and lives in Dublin, Ireland. In recent years Phelan has focussed his practice on extensive explorations into the formation of opinion and the absolute present, particularly manifested through independent FM radio transmission projects, drawing, video, photography and web based projects in both gallery and non gallery environments.

At what point will common sense prevail, 26 sound works to be presented for a 5 year period, was commissioned by the Lewis Glucksman Gallery and curated by René Zechlin. It marks the second phase of a series of projects exploring the formation of opinion; it deals with how cognition occurs in conversation, discussion or debate. Continue reading

imposition - a language-driven sound installationa - by John Caley and Giles Perring :: April 17, 5:00-6:30 pm (EDT) :: Rockefeller Library, Brown University, Second Floor Computer Cluster (and elsewhere in the building) :: BRING YOUR LAPTOP :: part of Transforming the Student’s Experience as Scholar.

imposition emerges from translation, a series of pieces which were developed, in turn, from overboard, our first essay in ambient poetics. imposition uses the same texts and procedures as translation. It continues an investigation of iterative, procedural removal from one text or language to another. Continue reading

Diapason gallery for sound and intermedia presents Alessandro Bosetti and Christian Kesten’s Mask/Mirror, a performance :: March 29, 2008; 8:00 pm :: Diapason, 882 Third Avenue (between 32nd and 33rd Street), 10th floor, Brooklyn, NY.

A few months ago I wrote a note to myself: “Try to create a mask that that doesn’t have anything to do with anything” and kept wondering what that could mean until I started to imagine Mask/Mirror. Mask/Mirror a sampler to process recordings of spoken language in real time… The sampler follows both sound and meaning criteria in sorting, organizing and processing samples and in formulating utterances. Continue reading

voiceoverhead - A project by Achim Lengerer & Dani Gal featuring Casper Cordes, Harun Farocki, William Furlong, Sharon Hayes :: until March 1, 2008 :: February 29, 2008: An evening of live-performances - Casper Cordes & Ellen Ugelvik; Discoteca Flaming Star; Will Holder; Guy-Marc Hinant - subrosa; Achim Lengerer & Dani Gal :: SMART Project Space, Arie Biemondstraat 105-113, Amsterdam.

In their collaborative practice Achim Lengerer & Dani Gal deal with audio-acoustics and storage media used for acoustic material. Their core interests are audio-recordings, particularly of language, spoken word and speech, original footage taken from radio-broadcastings or other archives. Continue reading

Divide Light - A New Opera by visual and performance artist Leslie Dill with music by composer Richard Marriott, and additional music by Tom Morgan:: August 13, 2008 :: Montalvo Arts Center, Saratoga, CA.

Commissioned and produced by Montalvo Arts Center, Lesley Dill redirects the classic form of opera using Emily Dickinson (1830-1886) to celebrate and investigate American Transcendentalism, a school of thought particularly prevalent in mid-19th century New England. Continue reading

I posted about some work of Rodrigo Derteano’s last week (here) but this third work I omitted as it didn’t quite seem suitable to include with the other two works.

Recomputing Space is a sound installation which employs field recordings as a psychogeographic study of urban sound. “Following the commands and rhythm imposed by an algorithm, two persons walk around in chosen locations in the city, recording a mix of noise, language, music and the sound of their own steps. The chosen locations are public places, such as public squares, parks, tram stations etc. Continue reading

Vaibhav Bhawsar wrote the following on A-bog: Udder-Utter is an instrument that utters syllabic sounds derived from the Devanāgarī alphabet, which is used to write Hindi and other Indo-Arabyan languages. It’s playability is inspired by the gestures involved in milking a cow. The sounds that this instrument utters are intended to be a mix of discrete and continuous in nature and are rhythmic due to their syllabic / phonetic origins. I see the Udder as an instrument for constructing and rupturing meaning through its playability, by using syllabic sounds to construct monosyllabic meanings and imagery to extract formal elements. Continue reading