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Saturday

Oct

13

Jonathan Wright's The Quiet and the Still

Oct 13, 2012: 7pm- 8pm

free103point9 Online Radio

Brooklyn (2003 - 2004) | Acra (2005 - 2015), NY
free103point9.org + transmissionarts.org/listen

WGXC 90.7-FM: Radio for Open Ears

90.7-FM in NY's Upper Hudson Valley and wgxc.org/listen everywhere
http://www.wgxc.org/

Jonathan Wright is a UK-based artist, and free103point9 Wave Farm's current artists-in-residence. This program was produced during Wright's residency. Writes Wright, "The content of the next hour's...

Jonathan Wright is a UK-based artist, and free103point9 Wave Farm's current artists-in-residence. This program was produced during Wright's residency.

Writes Wright, "The content of the next hour's broadcast comes form various sources. The broadcast represents an extension of a gallery show I curated in 2011 entitled The quiet and the still. All the work in the exhibition was sound based but none of the work made any sound, everything was mute. The show was inspired by a quote made by Gosta Kraken that had provoked Russell Hoban to write the remarkable book Fremder:

'Being is not a steady state but an occulting one: we are all of us a succession of stillness blurring into motion on the wheel of action, and it is in those spaces of black between the pictures that we find the heart of mystery in which we are never allowed to rest.'

These spaces of black can be transcended by sound; sound can reach beyond the visual.

I have extended the scope of the work presented in consideration of Marcel Duchamp's Infra Thin and his assertion that the notion is impossible to define, 'one can only give examples of it.' I have also borne in mind the surreal book, Impressions of Africa of which Duchamp was so fond.

Sounds that are intuitively indulged and savoured can become more profound when attached to further layers of meaning. We hear more deeply on listening again, especially if we are offered more information to unravel these layers.

Being able to transfer this curation into a transmission is a remarkable opportunity. The running order is as follows:

Litany a work made by me as an immediate reaction to arriving at the Wave Farm using a text from Jonathan Sterne's The Audible Past.

Breath, is Sian Gledhill's piece made using news footage broadcast in the build up to the Iraq War.

Bundeena Rock pool, Honey bee hive c-series and an excerpt from Sonata for clarinet & nodar are field recording works by Jez Riley French. These are very subtle recordings.

Joseph Hatch made me in 1608 by Diane Dever and Gerry Kelly is an excerpt from a work made in response to the interior of a Mediaeval clock tower.

Fierce Temper, Harm Tempts Us and All Things Are Changing were made by the Artist at Wave Farm using Tinnitus recordings.

Walk is a piece by the Artist directly inspired by the environment of the Wave Farm and the its atmosphere.

Finally, Sirensong is a work carried over from the Quiet and the still, re-presented as a transmission, based on a fresh translation by the Artist of Kafka's Silence of the Sirens Performed by Zigi Ellison.

free103point9.org + transmissionarts.org/listen

more details

ONGOING

Saturday

Oct

13

ONGOING EVENTS

Transmission Arts Colloquium

Oct 12, 2012 - Oct 14, 2012

Wave Farm + WGXC Acra Studio

5662 Route 23 | Acra, NY 12405 | 518-622-2598
http://wavefarm.org/

During the weekend of October 12-14 2012, corresponding with the Hudson Valley’s peak fall foliage weekend, free103point9 will host a first Transmission Arts Colloquium. This gathering includes an exciting international roster of participants with expertise regarding the issues informing the transmission arts genre. Attendees were selected so to comprise an intimate group, whose discussions during the colloquium will be shared with public audiences through broadcast and publication. Participants include:

John Anderson (DIYMedia.net/Brooklyn College, Brooklyn)
Manuel Cirauqui (Dia Art Foundation, New York)
Christoph Cox (Bard College/Hampshire College, NH)
Anna Friz (Artist, Chicago/Montreal)
Magz Hall (Canterbury Christ Church University/University of the Arts London)
Galen Joseph-Hunter (free103point9, Acra)
Jeff Kolar (Radius, Chicago)
Bonnie Marranca (PAJ Publications, New York)
Valerie Tevere (CUNY Staten Island, New York)
Tom Roe (free103point9, Acra)
Gregory Whitehead (Artist, Lenox, MA)
Jonathan Wright (Folkestone Fringe, Folkestone, UK)
Elisabeth Zimmerman (Kunstradio, Vienna)

Participants were each given one of three statements and questions to which they will respond during the Colloquium panels:

1) Transmission Arts and Contemporary Art Forms
Transmission Arts is a true form of Intermedia, developing an interface or dialogue between multiple media. If we define transmissions arts broadly as encompassing broadcast, installation, communication networks, composition and performance—in public spaces or on airwaves—what is your understanding of the potential of this mode of work for the future? What is your definition of "the contemporary" in transmission arts? Where is it pointing for the future?

2) Rethinking Transmission Media
From the early days of experimentation, electronic communication has inspired utopian aspirations among artists as a means to bring together diverse groups of people in an immersive human community. These ideals remained fervent in the digital age, where possibilities for instantaneous networks and intricate feedback circuitries offer the promise of interrelationships among unlimited numbers of participants. At the same time electronic communication may be equally described by imperfect conditions of dispersed feedback, partial and broken signal, and entropic decay.

Transmission art engages with these complex socio-technical conditions and circumstances of transmission, often as direct critique of state and/or corporate communication infrastructure and systems. How do they rethink transmission media in order to engage with the issues of power, ownership, and access to the electromagnetic spectrum? How do transmission artists approach the deep and unavoidable philosophical tension between utopian dreams of union and the status of interference and noise?

3) Ecology and Sustainability
If we think of artworks as part of an elaborate ecosystem—a community, incorporating artists and the public in cultural, economic, and political interconnectedness—how can we work toward sustainability? What tools do the different species of transmission arts have to develop creatively in this wider network of understanding? How can they evolve in the context of contemporary social and economic systems and the intermingling of art forms?