The research cluster 'Declassifying the Classics' was pleased to welcome Charles Shrader from University of Pennsylvania, whose research questions about Steibelt and the French pianistic school intersect and challenge our own. The morning’s round table revisited the subject of the French tremolo, in discussion and through performance. Michael Pecak performed Louis Adam’s Sonata in C major, Op. 8 No. 2, in its entirety, followed by Tom Beghin performing Beethoven’s Sonata in C major (“Waldstein”), Op. 53.
The lecture demonstration on Beethoven's Erard of the previous evening drew together performers, musicologists, instrument builders, and music lovers from Royaumont, Paris-Sorbonne, and various locations in Belgium. The study day extended some of the lively conversations held in the aftermath of the event.
Interfaces, sensors and Arduino. Jan Schacher (CH) introduces his movement-based work and shows how to work with the most common device, the Arduino.
The Arduino hacking salon will provide musicians, media artists and hacking enthusiasts with an insight into interfacing the real world phenomena with digital sound processes or use them to control physical actions through electrical switches and devices. We will cover basic circuits, input connections, basic programming, and communication with sound software such as Pure-Data, MaxMSP, or supercollider, Processing. The sensors we look at capture light, movement, measure distance or sound with piezo sensors, and with the actuators such be solenoids (electromagnets), DC-motors, Servo-motors, piezo-speakers, and LED lights we will be able to make sounds on physical objects or analog electronics. No particular skills are needed, but an affinity with computers, electronics sounds and a curiosity to discover new ways of interacting are highly recommended.
Davide Tidoni (IT) leads us in exercises in the new modes and experiences of listening offered by loudspeakers (‘sound, space and body’), using instruments you bring or have made in the hacking workshop.
The workshop is open to anyone concerned with the possibility of interaction between sound, space and listening. The main aim of the workshop is to offer, through direct practice, a wide range of listening experiences in order to lead participants to recognize sound as a concrete presence that puts the listener in relation with bodies, materials and space. Through the practice of specific exercises that stage phenomena of reflection, absorption, filtering and the threshold of audibility, a work will be developed on the perception of sound in space and the quality of one’s listening.
The contemporary points towards incommensurable definitions. Intensely debated in the fields of visual arts, art theory, and philosophy, it describes different practices, relating to disparate conceptual horizons. However, if distinguished from the contemporaneous of a given historical time, the contemporary becomes a selective concept: it promotes or excludes things and practices according to their ability of diagnosing previously unnoticed aspects of the present. In this sense, it gains a critical function, involving particular modes of relating to history and to one’s own time.
SoundBoxes are small, primitive electro-acoustic instruments built from a wooden box, a speaker, a small audio amplifier and a contact microphone. Discover the hidden sonic qualities of objects from our everyday world in this hands-on workshop, combining the arts of electronics, noise, sculpture and collage.