Leslie Gaston-Bird created a new type of music video named “Music Video Vérité”, a style favoring live performance over lip-synching. Leslie is focusing on research into multichannel and immersive audio formats.
“Women in Audio is a book published by her which contains a lot of content. Such as sound for film and television; music recording and electronic music; acoustics; live sound and sound for theater; education; audio for games, virtual reality, augmented reality, and mixed reality, as well as immersive sound.” https://www.icmp.ac.uk/about-icmp/tutors/leslie-gaston-bird
I’m interested in this book, and if I had time, I would read it. This book contains many things, which I think will be very helpful to my future study. In this research, I got to know Leslie Gaston-Bird’s self-created music mode it gave me a new experience of sound art.
Shanti Suki Osman (1983, Nottingham, UK; MA Music Education, Institute of Education, AHRC Studentship 2013) is a Berlin-based musician, researcher and educator. In her workshops she employs singing, song writing, performance and sound art, music-making and radio as a means of considering the themes: identities and privilege, cultural commodification and appropriation, feminisms, (post)colonial criticisms and activism.
Shanti Suki Osman is an English born composer. In her work, she speaks for women of color and strives for equality. It’s not so much about music as it is about social problems. It really resonates with me. I will be immersed in her works and feel the emotions which she expresses through her works. Her music was more than just music, it was more like power, a weapon to defend oneself.
Electric Indigo, DJ, composer, musician, has performed in 45 countries across Europe, Asia, and the Americas. She represents an intelligent and distinguished interpretation of techno and electronic music. Her DJ-sets are characterized by a wide variety with a clarity of vision and a depth that comes from a deep understanding of the music and the art of DJing. As a composer and musician, she creates music for concert spaces and clubs, and occasionally for stage plays and short films. In her compositions and live performances, she emphasizes the spatial placement and precise structures of subtly elaborated sounds, often generated with granular synthesis. Her new album “Ferrum” was released on Editions Mego in March 2020. The Republic of Austria awarded Electric Indigo the Kunstpreis Musik 2020.
Her music is very diverse and she can use many different ways of making the music that she wants. The moment I heard her music, I was attracted.（her music has a strong beat）She has her own ideas about music and is in control of it. I would like to be one of them.
A lot can be learned about the values of capitalist culture by critically investigating the materiality of the machines, processes and practices of technology that consumer society throws away. In its deconstructed form, everyday obsolete domestic technology exposes the confounding ways that humans treat one another and how we engage with our built and natural environments.
Darsha Hewitt’s art practice is situated across new media and sound studies and largely grows out of empirical material based experimentation with obsolete technology. She make electro-mechanical sound installation, performances with hand-made electronics, video, drawing and photography. Her studio practice and teaching methods alike take an adventurous hands-on /media-archeological approach to art making, where hidden systems within technology are de/re-mystified as a means to trace out structures of economy, power and control embedded throughout western culture. Her artwork is presented internationally, with recent exhibitions at the Hong Kong City Hall (CH), Halle14 – Centre for Contemporary Art (DE), MU Artspace (NL), The Museum of Art and Design (NYC), Hartware MedienKunstverein (DE),Gaitée Lyrique (FR), Ottawa Art Gallery (CA), Modern Art Oxford (UK), The CTM Festival Berlin (DE) and WRO Media Art Biennale (PL). She has been awarded numerous commissions, grants and awards for her work. Within Germany, she was the recipient of an International Production Stipend from The Edith-Russ-Haus for Media Art and held a fellowship at the Berlin Centre for Advanced Studies in Arts and Sciences at the University of the Arts in Berlin.
This reminds me of Jason Freeny’s dolls, which can intuitively see the internal structure of an object from the outside. Also, transforming old equipment into a new work of art also makes me think it is a very meaningful thing.
Lisa Busby is a Scottish composer, vocalist, and improviser based in London. Situated across experimental music, performance art, and pop song, her practice often utilises the found and the prosaic, and manifests in various entangled modes – long-duration and site specific work, video, non-standard scoring/notation, “anti-production” techniques for electronic music, and live improvisation for sound/body. Currently, Lisa is one of Sound and Music’s New Voices 2019 Sound and Music’s New Voices 2019 and participating in the Social Acoustics Research Project led by Professors Jill Halstead and Brandon Labelle.
Materially she is interested in fragments, fringes and collisions of song and noise; artefacts of pop and fan culture, histories and archives; experimental turntablism and expanded usage of playback, samples and loops; and everyday action as/in performative gesture. Instrumentally her specialisms are in voice, turntables, hardware and software electronics, with more recent work incorporating electric guitar and lapsteel. She performs and composes with bands The Nomadic Female DJ Troupe and Rutger Hauser; is part of The Lumen Lake music collective and record label; and is a member of the art, education, and politics group Common Study based at Somerset House Studios. She has ongoing sound and movement collaborations with Gabriel Bohm Calles and Lou Barnell.
Lisa has released, performed and exhibited in various solo and group situations internationally including AMOQA [Athens], The Blackwood Gallery [Toronto], Forthwith Festival [Winnipeg], Vetrarjazz [The Faroe Islands], The Royal Institute of Art [Stockholm], Inter Arts Centre and Signal Centre for Contemporary Art [Malmö], Incubate Festival [Tilburg], Optica Festival [Gijon], Tate Modern, The Southbank Centre, The British Library, The Ashmolean, Modern Art Oxford, Wysing Arts, The Arnolfini, Iklctik and Café Oto. She has worked with curators, programmers and promoters including Sisters Akousmatica [Australia], Verkligheten [Umeå], The Surround, Electra, Audiograft, Bristol Expanded and Experimental Film, Oxford Contemporary Music, Saisonscape, Primary and Radiophrenia [CCA Glasgow, Borealis Bergen]. Lisa has released with record labels Adaadat, Seed, and The Lumen Lake, and published scores with Structo and Indestructible Energy. Her writing has been published by Routledge, Bloomsbury, Dancecult, Her Noise and The Quietus; and her work has featured on BBC Radio 3 Late Junction, BBC6Music, and Resonance FM.
I saw lots of collages made by Lisa Busby. And I actually get a lot of inspiration from her work. (I might be able to do some collages to develop my ideas… Or put my ideas together.)
Shit! i can Dj
I think this project is very interesting. I can see the progress of the project in the video（how it works and some description）. The sound is also amazing（I think I can DJ too after I heard this work）, and the photos that come out are very attractive to me, and I want to hear and see for myself.
Jessica Ekomane is a French-born and Berlin-based electronic musician and sound artist. Her practice unfolds around live performances and installations. She creates situations where the sound acts as a transformative element for the space and the audience. Her quadraphonic performances, characterized by their physical affect, seek a cathartic effect through the interplay of psychoacoustics, the perception of rhythmic structures and the interchange of noise and melody. Her ever-changing and immersive sonic landscapes are grounded in questions such as the relationship between individual perception and collective dynamics or the investigation of listening expectations and their societal roots. 2019 will see the release of her first LP via Important Records.
Jessica Ekomane was one of the composers chosen as collaborators by Natascha Süder Happelman for her installation at the German pavilion of the Venice Biennale 2019, alongside Maurice Louca, DJ Marfox, Jako Maron, Tisha Mukarji and Elnaz Seyedi. She’s also part of the SHAPE Platform roaster of artists for 2019. Run each year by a union of 16 festivals and art centres – including Berlin’s CTM Festival and Krakow’s Unsound Festival – SHAPE is dedicated to promoting emerging acts, interdisciplinary cooperation and creative experimentation. A Berlin Community Radio [INCUBATOR] resident for their 2017 edition, she now hosts a monthly show on Cashmere Radio. “Open Sources” is focused on linking folk and traditional music with contemporary musical experiments. Her work has been presented in various institutions across Asia, Australia and Europe such as CTM festival, KW (Berlin), Ars Electronica (Linz), Dommune (Tokyo) and MUMA (Melbourne).
（From https://www.jessicaekomane.com/about）
I saw all of Jessica Ekomane’s installations. Her installations are immersive, and each project tells a story. I can feel different emotions and a unique ethereal feeling of sound in her works.
light-movement
(https://soundcloud.com/jessica-ekomane/light-movement) I’m particularly interested in this installation(light-movement) of hers. I’m actually very interested in installation art that combines sound and light, and it reminded me of another similar exhibition I saw in London last year called 180 The Strand.
