The concept of Deep Listening, as coined by Pauline Oliveros when her nascent Deep Listening Band descended into an underground cistern to perform using the space's 45-second reverb, has become increasingly vital in modern music. She described Deep Listening as "listening in every possible way to everything possible to hear no matter what one is doing".
The second of our Deep Listening workshops this year dives into the genesis of ambient music, sonic creativity in multimedia and software, and multi-sensory approaches to creating art-environments. Leading the workshop: ambient music legend Hans-Joachim Roedelius , acclaimed composer/programmer Akira Rabelais , and pioneering multi-disciplinary artist Kelly Jayne Jones .
Hans-Joachim Roedelius has blazed a trail of new musical ideas and practices for over 50 years. With a discography spanning more than 100 releases, including collaborations with Peter Baumannn, Holger Czukay, Brian Eno, Dieter Moebius, Conny Plank and Michael Rother, Roedelius's work forms a touchstone of influence for a diverse array of musical styles, from ambient to mathrock, drone to techno. His work with Dieter Moebius (and, for a while, Conrad Schnitzler) as Cluster formed a precurser to ambient electronic music - other high profile projects include Harmonia (with Neu!'s Michael Rother), his 1977 collaboration Cluster And Eno, The Human Being, and Roedelius Schneider, his 2011 collaboration with To Rococo Rot's Stefan Schneider. Hans-Joachim will use his extensive catalogue of work as a starting point to explore the ideas, methods and techniques behind his work, and behind a diverse array of modern "ambient" music.
Akira Rabelais is a composer, poet, programmer and experimental multimedia artist. After studying with computer scientists Bill Dixon and Tom Erbe at CalArts, his first record 'Elongated Pentagonal Pyramid' was released on Mille Plateaux sub-label Ritornell. In 2004, David Sylvian signed Akira to his Samadhi Sound label, and the now cult classic Spellewauerynsherde was released to huge critical acclaim - a 2017 re-release on Boomkat Editions in 2017 brought the album to new audiences. In his own words, Akira is "a composer writing software, not an engineer making music" - his audio manipulation program Argeïphontes Lyre has been used not only on his own works, but also by other artists such as Terre Thaemlitz, Biosphere and Scanner. In 2005, he was involved with tape manipulation on Björk's 'Bath', on her soundtrack for Matthew Barney's Drawing Restraint 9. In February 2019, Rabelais released cxvi through Boomkat Editions, a 'years-in-the-making' album that features collaborations with Ben Frost, Stephan Mathieu, Kassel Jaeger, Biosphere, Melanie Skriabine and Harold Budd among others.
Kelly Jayne Jones's work combines performance art, installation, sound and music. Influenced by musique concrète, she works with improvisation, graphic scores, instructions, actions, movement, installation-performance, and audience participation/interaction. She has been researching techniques to amplify slate, using rocks and geology as a sound source. Her work creates multi-sensory experiences - sight, sounds, smells, space, interaction, communication and exchange. Recently, Kelly has been exploring themes of the unconscious, asking how can art have the potential to be a supportive environment to explore visceral emotion, psychological awareness and performance as a site for transformation; interpersonally and communally. Kelly has collaborated with Hannah Ellul (White Death), Greta Buitkute (Clout then Grappling) and Andie Brown (These feathers have plumes), and has undertaken commissions at dOCUMENTA13, Tate Modern, ICA London, Schirn Kunsthalle Frankfurt, CCA Glasgow, Treize Gallery Paris, Borealis Festival, Tectonics Reykjavik, Hangar Bicocca gallery, Milan and for Huddersfield Contemporary Music Festival. Drawing on the practical idea of Active and Deep Listening, during Kelly's workshop we will explore our inner selves with ASMR inspired experiences and our relation to our fragile planet, whilst reflecting on physical and emotional responses to sound, tuning into our bodily responses to sound. We'll incorporate Alexander Technique, and collaborative active listening, drawing on scores by Oliveros and others.
WHERE AND WHEN?
This is an online course, but it involves realtime sessions and contact time with your tutor - it's not a "download these videos and watch them at your leisure" type of thing - it's a real workshop with live lectures, individual tuition, assignments and feedback sessions. We've tried to make this remote session as close as possible to the experience of an onsite workshop at CAMP. The course starts on 10/08/2020 and ends on 14/08/2020.