“When Luigi Russolo recommended that we traverse a modern city with ‘our ears more alert than our eyes’ (1913) adhering to the complex sounds of the new technologies of the modern city, he introduced incidental noise into the lexicon of art. One hundred years on, the sound of the city remains a key preoccupation for contemporary artists from Haco and Toshiya Tsunoda’s Tram Vibrations project, amplifying inaudible sounds of urban transportation, to Francisco López’ celebration of cityscapes in Sonopolis. These artworks not only capture and represent the sonic signifiers of city spaces they also create new imaginings and experiences of familiar urban sites.” – from Sonic City Essay (Liquid Architecture curatorial essay)
Haco perfroming “Tram Vibrations”
The Sonic City: activating the city through incursion.
(co-presented with Liquid Architecture)
Featuring: Haco, Darrin Verhagen, and Camilla Hannan.
Moderated by Philip Samartzis.
Saturday 31 August 2013 (1pm) – free entry (Book online)
* Tonight’s event is at West Space, Level 1, 225 Bourke Street, City. To access from the street entrance you need to press the intercom for level 1 next to the main door at street level. The sliding doors will open and you can then take the elevator to level 1.
* The venue is very close to Swanston and Bourke st trams, and not far from Flinders st, Parliament and Central train stations, but if you’re driving, there is all-night parking for $10 next door in Royal Lane (enter off Lt Collins st).
* We’ll kick off as soon as we can after 7:30 so come early. Last performance ends around 9pm followed by optional drinks and chat.
* There is a bar – but it’s ok to bring kids.
* The gallery is open, featuring work by Jacqueline Felstead | Ian Haig | Adam John Cullen | Kain Picken – see http://westspace.org.au/ .
Bob Baker Fish interviews Clinton in Cyclic Defrost.
Clinton writes about the series in Resonate.
“Listening to music is listening to all noise, realizing that its appropriation and control is a reflection of power, that it is essentially political” – Jacques Attali, Noise: the Political Economy of Music (1977).
Why Noise? the aesthetics of noise and ‘wrong’ sound
“Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men.” – Luigi Russolo, Art of Noises (1913)
Westspace presents the inaugural installment of More Talk, Less Action:
Why Noise?: the aesthetics of noise and ‘wrong’ sound – Thursday 22 August 2013, 7:30pm (Facebook event).
The use of noise as music is the subconscious soundtrack of the Modernist age. From Futurism to atonality, from musique concrete to noise music, the burgeoning contemporary noise scene could be construed as the folk music of the twenty-first century. But if noise is defined as wrong or unwanted sound, can there be such a thing as ‘good’ noise music? With performances from two different spectrums of noise music by Mark Groves and The Donkey’s Tail, a panel of noise practitioners and theorists discuss this and other questions.
On the panel are:
John Nixon (variously described as one of Australia’s preeminent ‘high modernists’, visual artist, curator, publisher and ‘(anti-)musician’, Nixon is also leader of The Donkey’s Tail).
Linda Kouvaras (musicologist, composer, and author of new book Loading the Silence: Australian Sound Art in the Post-Digital Age)
Mark Groves (leading Melbourne noise artist and co-founder of the Sabbatical collective)
Post your thoughts and comments here to start the discussion in the lead up to 22 August.
On 4th August, Clinton explained to 3RRR‘s Camilla Hannan what More Talk is all about .