Orpheus Electric Salon returns with a flash-sequence of events in June – weekly sessions to show, learn, develop and play sound-work. Nicolas Collins hosts a series of guests addressing topics important to everyone working with sound. Calling musicians (electronic and steam), sound-artists, multi-media artists, performers, composers, hackers, instrument builders – these salons cover a range of ideas relevant to us all, whether established practitioner, curious musician or absolute beginner. Each week there will be hacking workshop, a chance to share your work, a hands-on introduction from expert artists to crucial elements of contemporary sound-work – and perhaps a chance to play together.
Thursdays 17.00 – 21.00 through June. Registration is free, but required.
Following several meetings with Paulo de Assis (Research Fellow at the Orpheus Institute) David Savat accepted the invitation to take up a position as visiting researcher at the Orpheus Institute. He will be working from 17 May until 14 June and from 13 to 24 November with Paulo de Assis (MusicExperiment21 research cluster), as they share an interest in the work of Gilles Deleuze. Dr Savat will also work closely with Jonathan Impett in the Music, Thought and Technology (MTT) research cluster. David Savat is a lecturer and former discipline chair of Communication Studies at the University of Western Australia in Perth (Australia), executive editor of the journal Deleuze Studies journal, published by Edinburgh University Press, as well as series editor of Bloomsbury’s Schizoanalytic Applications series.
10-12 May 2017
Intensely debated in the fields of visual arts, art theory, and philosophy, the notion of the contemporary describes different practices, relating to disparate conceptual horizons. However, if distinguished from the contemporaneous, 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.
Following Roland Barthes’ claim, who—inspired by Nietzsche, and quoted by Agamben—said that “the contemporary is the untimely”, the contemporary might suggest artistic practices that run against their own time and epoch, implying specific forms of resistance.
Beyond historicising frameworks, the 14th International Orpheus Academy for Music and Theory—Futures of the Contemporary—will explore and discuss new modes of thinking the contemporary in the arts, particularly focussing on music and music performance.
Lectures by Babette Babich (US), Chaya Czernowin (US/IL), Heiner Goebbels (DE), Claus-Steffen Mahnkopf (DE), Peter Osborne (UK), Michael Schwab (UK), and Paulo de Assis (BE/PT).