Originally from the Navajo Nation, Raven Chacon is a composer of chamber music, a performer of experimental noise music, and an installation artist. He performs regularly as a solo artist as well as with numerous ensembles in the Southwest and beyond. He is also a member of the Indigenous art collective Postcommodity, with who he recently premiered the two-mile-long land art/border intervention, Repellent Fence.
Kevin Beasley engages with the legacy of the American South through an installation that centers on a cotton gin motor from Maplesville, Alabama. In operation from 1940 to 1973, the motor powered the gins that separated cotton seeds from fiber. Here, the New York-based artist uses it to generate sound as if it were a musical instrument, creating space for visual and aural contemplation.
Two Postcommodity members, along with composer Guillermo Galindo, are partnering with members of a fast-gentrifying Santa Monica neighborhood to produce a sound-based artwork of contested histories.
Oliver Beer’s “Vessel Orchestra” includes 32 objects, ancient to modern, chosen for the sounds hidden within them.
In her visual and audio work, Jennie C. Jones revels in the affective power of silence and lack, staging encounters with forgotten histories and extra-visual phenomena through the bodies of her viewers.
In honor of May Day, Ultra-red release the PDF of our latest workbook for militant sound inquiry, “Five Protocols for Organized Listening” (5.8MB). The workbook compiles protocols for collective listening developed by multiple teams of investigators from 2009 to 2011 in cities across North America and Europe. “Five Protocols” is also accompanied by links to related sound objects on the School of Echoes Soundcloud page. Please feel free to download and distribute. We only ask that you send us feedback on your experiments with organized listening and militant sound investigation.
Hong-Kai Wang is an artist who works mainly with sound. Her practice includes processes involved in the production and performance of sound as well as their political and social contexts, and, not least, the organisation of listening. In several of her pieces she has employed collective processes, discussions and workshops.
An engaging sound collage presenting an unique historical documentation of Sound Art from the early 20th century to present day. The composition weaves through different sound works throughout the century with narratives and ideas from some of the prominent artists in the field.
Very nice meditative lecture on the idea of the ephemeral in art by Christoph Cox. There is a strong sonic emphasis here, but also on other forces like wind, fire, electromagnetic energy, etc. He begins with an intro but the actual performative lecture begins around 8:11. The names of all of the artists and writers that he uses in the lecture are included at the end.
JUNE 16, 2017 – JANUARY 8, 2018
Featuring work by more than 20 artists, The World Is Sound juxtaposes new site-specific commissions and works by prominent contemporary sound artists with historical objects from the museum’s collection of Tibetan Buddhist art to encourage reflection on how we listen and to challenge entrenched ways of thinking.
Protest sounds recorded from the 8th floor of 2 west 13th street
Here are a few examples of extraordinary musical Instruments from Tibet, Central Africa and New Guinea