Signal Drift

tube amplifier 6N13S

A sensory experience awaits visitors to Morley Gallery, London between 12 May - 12 June at The Engine Room, its second international sound art exhibition.

Twenty-two works from emerging sound artists from Singapore, Russia, Germany, Colombia, Italy, Canada, France, the United States and the United Kingdom have been selected for the exhibition following The Engine Room’s first international sound art competition. Alongside these works will be Aerial Aria in the aviary, a newly commissioned installation by established sound artist Janek Schaefer.

The Engine Room gives visitors the chance to immerse themselves in soundscapes, watch audio-visual works, experience the stimulating interaction of sound and video, and observe and interact with sound sculptures and sound installations.

Visitors to the free exhibition will be able to find themselves in a forest of radios surrounded by bird cantatas, witness the subtle cries of a wounded violin or experience a flirtatious dance between speakers, turntables and microphones. The Engine Room sets out to leave visitors with a fresh perception of the sounds that surround them.

Niko Mihaljevic – Magneticae Taeniae de Carpe Diem, cassette published by Alluvial Gold,  Zagreb, Croatia, July 2012

Magneticae Taeniae is a box set of 12 cassette containing tape loops from found cassettes, an artist multiple in an edition of 1, I suppose. It was later compiled as a single, normal cassette by Croation designer and artist Niko Mihaljevic (b. 1985) and released on his own Alluvial Gold label.

Lau Nau: composer, live performer, producer, sound artist, experimental

Miki Yui: sound artist, audio installation [photo: Stefan Schneider]

30 OCT, 31 OCT, 01 NOV 2015 ISTANBUL, TURKEY

From humankind’s oldest monuments: Göbekli Tepe and Malta’s Hypogeum to Stonehenge and Newgrange Passage Tomb, to Chavín de Huántar and Mayan pyramids — researchers are now taking note of unusual sound behavior in the world’s monumental and consecrated places.

It is no secret that ancient cultures all over the world have exploited natural sound phenomena for spiritual and ceremonial use.  Those people who attended or have read the papers in the publication from the first OTSF Archaeoacoustics Conference have also discerned first-hand that Stone Age builders knew how to impart an impressive human psychological and physiological experience, whether they could explain the science of it or not. The question of “Why?” is ripe for exploring.

ARCHAEOACOUSTICS II welcomes contributions from researchers, scholars and technologists working across diverse disciplines, sites and practices. Submit your 250-300 word abstract for a 20-25 minute presentation, along with a brief bio for each author via email to: [email protected]

More info: http://www.otsf.org/2015-conference.html