Archive for the ‘revenant workshops’ Category
This was a 3 day revenant workshop organized by Rajataide artists association of Tampere. We would like to thank our hosts for their efforts and the participants for their time and energy. The group was small but diverse and included students of various disciplines, artists, a teacher and a journalist. Apart from the excersises, some important topics were raised in many discussions we had, including; recognition of sound sources, analysis and rationalization in listening, imaginary vs real spaces, sound aesthetics, meaningful soundscapes, awareness and sharpening of senses, the role of technology, sound perception in different cultural contexts, rules of agreement in groups, sonic power vs group power, sound as emotional, textural and gestural signs, “primitive” and “tribal” feelings, sound as non-verbal information and much more.
slected sound clips from some of the exercises coming soon…
After some discussion it has been decided to integrate some of the sound workshops given by Patrick, Max and myself into the revenant frame. Much of this comes from the observation that the material presented in the workshop (the exercises in particular), provide a foundation for revenant actions as it works with the idea of material and spatial constraints on site-specific sound activity.
This particular workshop led by Maksims Shentelevs, John Grzinich and Patrick McGinley was the second of its kind given originally under the title, “sound as space, sound as language” (this is still the working sub-heading). The workshop focuses on sound as transmitter of nonverbal information, whether as a tool for communication or as a description of physical or imaginary space. We focused on sound’s ability to define/describe space, and on our ability to resonate, alter or create space by using sound. The notion of “animal communication” was also explored through individual and group activity. A strong focus is placed on environmental listening, and the development of the ear towards detailed sonic perception. Using small acoustic objects and the space itself, we experiment with methods of group dynamics in sonic communication, with giving our location a voice, and with creating new spaces towards an understanding of sonic scenography. The workshop opens with an extended listening session, after which participants work through a series of sonic games and are asked to bring objects to use in the later stages.