Slow Adopter

The Lofoten Sound Art Symposium (LSAS) will be three days and nights filled with live performances, lectures, installations and presentations, everything taking place in the small fishing village of Henningsvær. All events are open and free for all audiences.

With: Siri Austeen (NO) / Hanan Benammar (FR/DZ) / Christian Blom (NO) / Anna Ceeh (RU)/ Espen Sommer Eide(NO)/ Yngvild Færøy (NO) / Nathan Gray (AU) / Rosanna Gunnarsson (S) / Raviv Ganchrow (US/NL)/ Sten-Olof Hellström (S) / Søssa Jørgensen (NO) / Stefan Klaverdal (S) / Tine Surel Lange (NO) / Rita Leppiniemi (FI) / Andres Lõo (EE) / Elina Waage Mikalsen aka. Juicy Máihlái (Sápmi/NO) / Anders Dahl Monsen (NO) / Arne Skaug Olsen (NO) / Olga Palomäki (FI) / Phonophani (NO) / Alessandro Perini (IT)/ Franz Pomassl (AT) / Maria Paz aka. Exotikdot (CO) / Juan Duarte Regino (MX) / Ann Rosén (S) / Jenny Gräf Sheppard (US) / Marloes van Son (NL) / Marko Timlin (FI) / Snorre Magnar Solberg (NO) / Timo Soppela (FI) / Elin Már Øyen Vister (NO) / Danni Zuvela (AU) / Makiko Yamamoto (JP) / More contributors to be announced.

LSAS is part of the international network Sound Disturbance started by MUU, C-Y ContemporarY and the North Norwegian Art Centre (NNKS). Lofoten Sound Art Symposium is the third in a series of Nordic sound art events begun in 2016-2018. Past events in the series have been Ääniä muualta – Nordic Soundscapes – Sounds from Elsewhere taking place in Oulu organised by MUU and Sound Disturbance – Hearing the Visual initiated by C-Y ContemporarY in Malmö.

The Lofoten Sound Art Symposium is organised by the North Norwegian Art Centre. Local partners for LSAS are Lydgalleriet and nyMusikk Nordland. LSAS also hosts two new works commissioned by Liquid Architecture, Melbourne.

Gloomy Sunday

Latest addition to Memo Akten’s ongoing ‘Learning to See’ project demonstrates a neural network powered realtime image translation framework, presenting possibilites for visual poetry:

A pre-trained deep neural network making predictions on live camera input, trying to make sense of what it sees, in context of what it’s seen before. It can see only what it already knows, just like us. 

The Overwhelming Emotion of Hearing Toto’s “Africa” Remixed to Sound Like It’s Playing in an Empty Mall | New Yorker

Our lives increasingly play out in virtual spaces: instead of going to malls, we surf on Amazon; many of us would happily forgo the mess of a party to stay home and flirt through an app. Listening to music, too, is now mostly frictionless, and this quality is why the little shadow world of music that Robert, allyson m., and others inhabit is so appealing to me. It’s nice to think of a handful of young people playing around on Ableton on their laptops, in their bedrooms, trying to reintroduce a sense of physical space into a listening environment of digital isolation: conjuring the sort of scenario in which, say, you’re down the hall from your older sibling who loves the Beach Boys, or in a place where, for a change, someone else controls the music—in a crowd, or at a mall, or in a pounding bathroom—someplace where you’ve taken the chance of being lonely in public, instead of retreating and clicking around alone.

Watching the Total Solar Eclipse with Photographer @dave.krugman

To see more of Dave’s images, follow @dave.krugman on Instagram.