The Orpheus Institute proudly introduces the first Orpheus Research Summit: advanced professional development for artistic researchers in music, a brand new event for established artist-researchers. From 26 - 30 November 2018 at the Orpheus Institute, Ghent (Belgium). If you want to immerse yourself in an intensive week of artistic research and fully recharge, then don’t hesitate: apply before 7 April 2018 and secure your place! The number of participants will be restricted to 15.
The ten-day course has two components: the artistic research project of the participants, as it relates to any of the nine historical pianos that we can make available, and a collective Concours révolutionnaire around the 1803 Erard piano.
Jonathan Sterne, McGill University
Today, our singers at auto-tuned, our podcasts and lectures can be speed-listened, and our commercials are synced to their 30-second slots. But in the mid 20th century, it was a strange and wonderful possibility to change the duration of a recording without affecting its pitch, or to change the pitch of a recording without affecting its duration. Techniques that we now call time-stretching and pitch-shifting represented something at the frontier of possibilities for audio, a break with phonographic models of sound recording, and new possible relationships between sound and time. Covering the period from the first attempts with film, tape and wires in the 1920s and 1930s until the turn to digital solutions in the early 1970s, this talk offers a capsule history of the techniques of time-stretching and pitch-shifting in the analog domain in the US and Germany. In so doing, it documents the competing meanings of the technology as it moved between blind readers, musicians, information theorists and broadcasters. Please note: this talk is drawn from a co-authored book in progress: Mara Mills and Jonathan Sterne, Tuning Time: Histories of Sound and Speed.
Music, and the arts in general, has always been a source of inspiration in times of crisis; it establishes rapport between peoples and cultures and serves as a laboratory for the creation and expression of cultural values.
Dissolving Borders invited proposals that will investigate and problematize how musicians create political spaces that transcend demarcated space and culture, on scales both global and local, macro and micro. We seek work that engages with the complex realities of inter-cultural contact, including issues of migration, communication, integration, acceptance, and symbiosis. As the world experiences radical displacement during an era of unprecedented enforcement of borders, we seek earnest engagements with the vibrant history of music’s entanglement with these issues. Looking to past musics, musicians, and scholarship, we encourage imaginations of music’s current and future role as a cultural and political agent.
Vincent Roumagnac explores different medium from and within the broad notion of stage, from performance and installations to video experiments. His art practice is based on time-specific explorations of the scenic mutations that emerge from the strategy of permutation between the backstage and the stage agencies at the time of a shift of representational paradigm demanded by the current climatic crisis.
In her work Cathy Van Eck looks for possibilities to compose relationships between sound, gesture and object. During the presentation, she will discuss her recent compositions and sound installations and how research and artistic output is combined in these. These include a research project with ethnographers on headphones, an interactive installation using wind, and performances exploring forms of demonstration. In all these works microphones, loudspeakers and several kinds of sensors play an important role. How these technologies interact with her aesthetic ideas will be an important focus during the talk.