18:00 concert & discussion RCC XLIII – PAIUK – dinner – LEBAR
February 8, 2020 –
We warmly invite you to the 43rd edition of RCC - Research Concert Cycle. Starting off the evening, we will have a presentation by Gabriel Paiuk. In Audibilities and the Technological Imagination, Gabriel aims to raise a series of questions on the assumption thataudibilities are formed, that they can be analyzed and furthermore operated upon.
Cue: Stay around for the amazing dinner.
Wrapping up the night, a presentation by Tilen Lebar entitled Through the Perspective of Sound (Vol. 1) - a research on non-audible and audible phenomenons which are having an impact on the listeners experience of sound.
Golden tip: stay around for the cheap drinks and share your thoughts.
Doors open at 17.45 – presentation starts at 18.00!
AUDIBILITIES AND THE TECHNOLOGICAL IMAGINATION
Within this presentation I aim to bring up a series of questions on the assumption that audibilities are formed, that they can be analyzed and furthermore operated upon. These questions take the form of diverse entry points into the way listening occurs and the way sound is operated on by musical practices. Within this context, the role of technologies is investigated, not as the means to produce previously unknown sonorous phenomena, but rather in the ways we attune to the tools and media used to produce and circulate sound. Further on, the role of imagination is investigated, not as detached from a seemingly real instance, but as a way to describe a process that saturates listening.
Gabriel Paiuk (*1975) is a composer and sound artist whose recent work is focused on the way notions, practices and material aspects of sound mediation play a role in modulating our listening. His work takes the form of sound installations, compositions for instruments and electronics and collaborations with other disciplines.
Recent works have been presented at Gallery W139, LI-MA, Sonic Acts Festival (Amsterdam), Universität Mozarteum (Salzburg) and the Willem Twee Kunstruimte-November Music Festival (Den Bosch). His ensemble and solo chamber work has been performed by Öenm, ASKO ensemble, Kammerensemble Neue Musik Berlin, Slagwerk Den Haag, Francesco Dillon, Ekkehard Windrich and Modelo62, among others. His sound installation Res Extensa was awarded the Gaudeamus composition prize in 2006. Since 2014 he is a member of the faculty staff at the Institute of Sonology (The Hague, NL) and
regularly articulates his artistic work with research, having lead to paper presentations and workshops in contexts such as the Master Artistic Research at KABK (Den Haag), Master in
Scenography at the HKU (Utrecht), KASK-School of Arts (Ghent), the Amsterdam School for Cultural Analysis (University of Amsterdam) and the conference on the Philosophy of Human
Technology Relations at the University of Twente. He was academic director of the Center for Advanced Studies in Contemporary Music in Buenos Aires (2009) and taught sound design at the Center for Cinematographic Investigations in Buenos Aires (2004–2009). As a pianist-improviser he performed internationally and recorded together with musicians like Axel Dorner, Jason Kahn, Keith Rowe, Andrea Neumann, Burkhard Beins, Rhodri Davies, Gunter Mueller, Lucio Capece, Robin Hayward, Sergio Merce and others.
THROUGH PERSPECTIVE OF SOUND (VOL. 1)
Research proposes an approach to non-audible and audible phenomenons which are having an impact on a listeners experience of the sound, an introverted experience through headphones (in-ear or on ear) which provide inner vibration transmissions through scull. Through these techniques, we are treating participants in Etude no. 1 (through non - audible frequencies of 20000 Hz and 10 Hz) we will try to prove experience via live performance of a saxophone and at the same time this two frequencies will be provided on a live stream through YouTube where all participants will be connected and experiencing mostly the same sonic experience. After Etude no. 1 they will be provided with a short Survey, where they will have to share their subjective experience through a review of questions. Etude no. 2 will operate with a different survey which will incorporate ASMR (autonomous sensory meridian response) approach to performance with a saxophone (through soft sounds) which will be amplified through a binaural microphone. In this etude, we will search for tingling sensations of participants which will again after the sonic experience have to share their inner information and subjective experience through the survey provided virtually. The third Etude is introducing another dimension of psychoacoustical experience of the acoustical response of the space in this etude we will try to artificially change the frequency of the venue in Studio Loos with usage of EQ (equalizers) and through effects used on amplification. Survey will take its third action – afterward we are opening discussion about the experience and all the facts that are not believable or threated seriously their cons and pros and general experience of usage of this kind of material in the format of the RCC concert series.
Tilen Lebar (1993) is a saxophonist and composer. He is a representative of a younger generation of Slovenian musicians and he is actively enrolled in the field of; cham ber compositional works, premieres of new works of younger composers, in the field of improvised music scene in
Slovenia and Austria, and in the field of interdisciplinary arts. He regularly cooperates with Zavod Sploh, KUD Mreza, Ensemble Szene Istrumental and presents his own individual projects with
Ensemble Stere, which he also founded in 2017. He has attributed and has had premieres on international and national festivals in Estonia, Austria, Germany, Italy, Slovenia and Croatia and has collaborated with: ensemble Asamisimasa from Oslo (Norway) to whom he dedicated his work »Cathexis II« (for clarinet, electric guitar an cello), Experimental studio of SWR Freiburg, and premiered his work »Bit’« (for trio of saxophones and live electronics), New music ens emble from Estonia with a premiere performance of a work »Ekyo kihikire« (for clarinet, saxophone and piano) . Since 2019 he is recipient of scholarship by Ministry of culture Republic of Slovenia for his Master in Composition studies at Royal Conservatoire in The Hague and an active member of Society of Slovene Composers.