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EPISODO : Sound Reasons @ YOKOHAMA TRIENNALE | 16 – 27 Sep 2020 | Japan |

ish — Wed, 05 Aug 2020 00:57:15 +0000

EPISODO : Sound Reasons
Yokohama Triennale | JAPAN | September 2020 |

2 Sound Installation and live performances (online)
Presentation/ talks along with directed listening sessions.

Indian sound artist Ish SHEHRAWAT (Ish S) and Indonesian artist Venzha CHRIST present their sound installations as a part of the EPISODO - Sound Reasons, at the Lecture Hall of the Yokohama Museum of Art. This is the first in the Sound Reasons series to be held in Japan.

Dates: September 16 – 27, 2020 *Closed: September 17 and 24.
Venue: Lecture Hall, Yokohama Museum of Art

We will be doing various other events with and before the installation dates like live performances, radio shows, talks etc. Please refer to the website and this space for updates.

Curatorial Introduction
An invisible immateriality, traveling, dissipating rapidly, embedding in somatic ways: Sound constitutes memories of encounters and moods, fears and limits, encompasses both unknowable and prohibited. It envelops, asks for discernment of intensity or withdrawal of its presence. The journey through mimicry, translucence, solitude, and togetherness is enlisted through the transversal qualities experienced in and with sound, asking us to become agile, move across senses, across membranes, across thresholds, beyond our finitude, towards an infinity of scales of becoming. To concentrate and attenuate our attention to this porous, boundary-crossing through mediums and cultures of listening and producing sound, we offer this Epis?do, inviting sound artists to awaken our sensing of extensive and expansive worlds. - Raqs Media Collective

Artist’s statement

By Ish S

The world is heard; its sonic space and time is generated through the complex unity of listening and perception. At Sound Reasons this listening and the phenomenological become the foci for innovative and generative practices as strategies of engagement to explore different creative and curatorial landscapes. The center point here is Techne, which in ancient Greek philosophy signifies ‘a mode of knowing’, being able to see, hear, inhabit and experience in the widest sense, and essentially, apprehend what is present as a continuum and the phenomenal. At Sound Reasons the ‘essence of knowing’ as Alethia, which brings into the present the processes and activities of creative reflections and abstractions, is the focus.

Sound as a medium is very dynamic and its activities and forms can be experienced and appreciated through a continuous engagement over time. The characteristics of continuity and redefinitions are complex, yet vital, to positioning Sound Art and contemporary electro acoustic music as truly post-modern forms. Sound Reasons, apart from its origins in sound and music, has at its core the processes of amalgamation of evolving phenomena, research and Praxis. It is a space for creative and sonic entanglements, and it has taken on a lot of different shapes and forms. Interestingly, in ‘Logical semantics’, or in language so to speak, ‘Sound Reasons’ stands for (or means) something reliable and sensible. Therefore, in praxis, Sound Reasons, just like Techne, brings forward knowledge-based experiences into the world, into the present, out of concealment and into their ‘multiplicity of appearances’. This aspect is closest to the philosophical concept of Rhizome as developed by Deleuze and Guattari, which apprehends this multiplicity as a study of Phenomenology (Husserl & Merleau-Ponty), and in Sound Reasons we engage with it via experiences, creations, preservations, explorations, abstractions and perceptions.

Having this multi-faceted research and praxis-based approach as a festival, music label, studio and production space, Sound Reasons is engaged with numerous curatorial as well as creative platforms. Over the last decade we have managed to represent around 90 artists. The experience of the works and activities we have engaged outline a unique spectrum of the many possibilities of sound art, electronic and contemporary music practices. At Sound Reasons we always want to initiate such varied approaches and processes. This is possible only through creative and curatorial explorations along with inter-media intersections as we sonically engage with the world and our lived experiences of the same.

Venzha CHRIST
EVOLUTION OF THE UNKNOWN VII
8 DIY Antennas, 8 DIY Signal Receivers, 4 speakers, 2 Frequency Visualisations

The first installation for the Episodo SOUND REASONS is by Venzha Christ, named ‘Evolution of the Unknown VII’. It is a graceful sound sculpture that uses DIY receivers to convert, synthesise and articulate astronomical radio waves from space into an audible spectrum. As a work of playful poetry, its structural complexity opens like a sonic bloom to reveal the phenomenological and intricate series of relationships of astronomical radio waves, with its artistic abstractions as an ongoing interplay between the radio waves, spatiality, sonifications, synthesis and the essence of the universe as intersections of being and listening.

Ish S
AN OCTAGON AND A SQUARE II
12 Channel Spatialised Sound Installation

The second installation, called ‘An Octagon and a Square,’ by me (Ish S) is a sonic horizon, which constitutes heterogeneous sound fields that can be inhabited and experienced from both the inside and outside of the installation. There are various layered sounds composed and synthesised for the installation, therefore the movement of the listeners within the installation space and their respective positioning as sonic observer plays an important part in the perception and the listening(s) of the work. I have coined this spatial phenomenon as “Sonic Sculpting in Space”. Here, the sound fields are always in motion as they reflect, oppose each other and at times exchange positions, flip and juxtapose overtones and movements. There is a folding and unfolding of the phenomenal, the opening up of multi layered listening fields that are brought into ‘various clearings’ both within the space and outside of it. This spatially illustrates some of the very intricate melodic intervals⁽¹⁾ of Indian classical music within the contemporary format of a 12 channel sound art installation.

More importantly this installation is directed towards the phenomenological, and it brings the visitor/ observer into the complex fields of dynamic listening processes and closer to the finer points of ‘Indian classical music’⁽²⁾, like that of the ‘Rasa.⁽³⁾ Based on minimalism and sound spatalisation, all the locations within the installation provide for infinite listening experiences as these perspectives and the layered sonic phenomena of inhabiting a space are sculpted as a sound installation.

As an artist I really like the idea of observing this sound field from the both from the inside and the outside. This leads to an interesting scope of inhabiting it, as well as observing it as a sonic horizon from a distance. The visitor is encouraged to move in and around the work in order to gather multiple perspectives of the installation. These movements of the observer/ listener create multiple layers of sonic experiences, and more importantly engage the body as a medium. The idea is to elaborate these engagements and multiplicities of experiences within the phenomenology of listening, thereby preventing any single sense from imposing itself at the very outset of the phenomenological processes.⁽⁴⁾ Just like the blank space surrounding a word permits typographical adjustments, spatial compositions here are structural modifications of Indian classical music intervals, bringing forth the poetics of a newer form of listening and being.

At Sound Reasons we believe that ‘art’ through ‘sound and music’ can be the origin and the beginning, and therefore have a spring forward into a clearing, into a newer form of listening and being rather than just remaining a routine appendix to be carried out as a cultural and social phenomenon.

Sound Reasons therefore becomes a place where the layering of the so called concepts, boundaries, processes and elements can change and overlap and influence each other in a non-linear and non-historical set up – so that other creative and curatorial realms can be brought forward into the clearing and into the present. These can be a clearing to other ‘access points’ for the works, space and time and therefore reinterpretation of the poesy.

In the Heideggerian sense of interpretation, within these installations and live performances there is an interplay of imagination and poetry as a projection, a clearing, a creation of a region to be experienced. There unfolds an unconcealment, so to speak. It is a ‘creation of an open region’ that poetry allows and in this ‘nowness’ the perceptions and experiences intersect.

Music before everything else.
and, to that end.
Prefer the uneven
more vague and more soluble in air with
nothing in it that is heavy or still.
- Verlaine Art Poitique

To name an object is to suppress three-fourths of the enjoyment of the poem, which is composed of the pleasure of guessing little by little: to suggest . . . there is the dream
- Mallarme

BIOs

Ish SHEHRAWAT (Ish S)
Born in 1978 in New Delhi, India. Lives and works in New Delhi. Shehrawat is a composer, sound artist, curator and musician, and his primary fields of interest are sound art and installations, along with electro-acoustic and improvised music. Trained as a classical guitar player, he has produced various sound art installations, albums and composed music for independent short films, plays, performances and contemporary dance recitals worldwide. He also curates the Sound Reasons Festival for sound art and experimental electronic music, which has taken place in India and the South Asia region since 2012. In 2018 he received a grant from India Foundation for the Arts under its Arts Practice Programme, with support from the Sir Ratan Tata Trust (SRTT).

Venzha CHRIST
Born in 1973 in Banyuwangi, Indonesia. Lives and works in Yogyakarta. Christ is a founder of House of Natural Fiber (HONF), a new media art laboratory in Yogyakarta that has been active since 1999, where he explores a number of art projects that work towards the development of art, science, and technology for society. He has also been a director of the Indonesia Space Science Society (ISSS) since 2015. Christ has focused on space science and space exploration research since the beginning of his career and has actively created collaborative projects with more than forty institutions and universities in this field worldwide. His latest projects including NASA are MARS Desert Research Station – MDRS (2018) and Simulation of Human Isolation Research for Antarctica-based Space Engineering – SHIRASE (2019).

Footnotes and Citations

⁽¹⁾ An interval is the distance (in scale steps) between two pitches. A melodic interval occurs when two notes are played in sequence, one after the other. Intervals can also be harmonic, meaning that the two notes are played together at the same time. For example, taking C as the tonic the “1″ (Sa in Indian classical music or the first degree/note of the scale), then the third degree of the C major scale is E (Ga in Indian classical), so the interval between C and E is called a major third. If the second tone in a major interval is lowered by one half step, the interval becomes minor.

⁽²⁾ I have used the scale from the Marwah Thaat (catergorisation or grouping of Indian classical scales) to compose and synthesise sounds for the installation. These ragas are performed from late night-time till early morning, like Marwah, Puriya and Sohini. These are special 6 note-hexatonic ragas which have the 4th note sharp – Ma Sharp – and omit the 5th note Pa completely as 5th denotes the sun. This leads this system to a very special set of notes that usually do not exist in the western performance tradition. This installation interprets the soundings of these notes and creates a unique space-time and with these intervals (and others) as en-harmonic musical and experiential relationships. These are put forward as artistic representations to bring into the realm a newer phenomenological listening of Indian classical music.

⁽³⁾ In Indian aesthetics, a rasa (Sanskrit: ??) literally means “juice, essence or taste”. It connotes a concept in Indian arts about the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience but cannot be described. [Encyclopedia Britannica (2013)] It refers to the emotional flavors/essence crafted into the work by the writer and relished by a ‘sensitive spectator’ or sah?daya, literally one who “has heart”, and can connect to the work with emotion, without dryness. Rasas are created by bhavas: the state of mind. [ Wikipedia ]

⁽⁴⁾ I want to create listening experiences which are heterogeneous within the installations, so that the attention can be drawn to the intricacies of Indian classical music like Shrutis, Raas, and the unique melodic intervals within the notes along with the compound and polymetric rhythms. These above-mentioned parameters along with others are often very important aspects of the classical form, and I feel that interpreting them in the contemporary format of ‘sound installations’ becomes an immersive and powerful medium to bring about heterogeneous interpretations and listener experiences that bring forward newer experiences of classical music into the clearing.

Now, there is a ‘learning curve to the listening (here)’ and one has to hear these installations over 3 to 4 times if possible to sense the complexities of the phenomenological engagements herein. The practice of listening will get sharper with each listening session, that is, conscious application to the sonic phenomenon and its intricacies are experienced. One will be able to track the movements of sounds within these examples, which are not too linear and will be able to follow the shapes of these movement, tracing them as diagonal, circles and parabolas (around you)

This very Phenomenology, in the great philosopher Husserl’s sense, is not a science in the sense that physics or mathematics is a science. Phenomenology is not a matter of forming inductive theories to explain phenomena, and is not a matter of drawing deductive conclusions from them. Any such going beyond the directly given is risky and subject to error.

Phenomenology, then, does not argue; it describes. Husserl makes this point again and again. Phenomenology, for Husserl, is not a matter of learning to think clearly or to reason properly. It is a matter of learning to see all over again. This “describing” of the phenomena is not a simple task. It involves discipline and training. Training in phenomenology is rather like the training a painter gets. The painter must learn to be sensitive to nuances that all of us in a sense see, although most of us don’t notice them. The ‘phenomenological heterogeneous experiences’ afforded spatially within the installation will be of these deeply immersive listening(s) which will eventually over a period of time lead to a training in sonic phenomena.

The installation ‘An Octagon and a Square – II‘ is made possible with a grant from India Foundation for the Arts under its Arts Practice Programme, with support from the Sir Ratan Tata Trust (SRTT)

LISTENING SESSIONS/ Engagement/ Registerations

SONIC SESSIONS | 28 Nov – 06 Dec 2019 | Five Million Incidents | Goethe Institute | New Delhi |

ish — Sun, 19 Jan 2020 17:19:33 +0000

Sound Reasons : Sonic Sessions | Five Million Incidents |

2 sets of installation and One live performance
Presentation/ talks along with directed listening sessions.

Saturday, 30 November | LISTENING SESSION | 8 PM onwards
Directed Listening Session | Walk through

These Sonic sessions will be a set of sound installations and live interactive scenarios to engage the audience and the physical space, where through continuous engagement the Sonic experiences and the phenomenological can be derived. This will also present a unique opportunities where newer lines can be drawn so that the curatorial along with the creative can be engaged reflecting truly on the medium of Sound.

One part of the installation will be around the Indian Classical Raga System which will present the installation as a sonic horizon of possibilities of hearing , engaging and inhabiting. It will be presenting some of the aspects of the Indian Raga system as a spatial sonic sculpture. These installations will present heterogenous listening perspectives and some directed listening session will try and engage with these perspectives.

The Sonic Sessions will extend the very idea of an exhibition as an ‘evolving phenomenon’, so that it becomes something that can be experienced and engaged with over a period of time (across days). This will be the focus to create a ‘dynamic sound based space-time’ and this sort of engagement is important in order to truly represent the medium of sound in its contemporary form, where newer lines can be drawn so that the curatorial along with the creative can overlap and the subtle nuances of the Sonic phenomenons can be experienced through engaged listening(s).

LISTENING SESSIONS/ Engagement/ Registerations

An individual registration process is required to become a part of the listening sessions offered at MMB. Therefore, look into various formats to make the space and installations accessible, especially to students and younger people. More importantly, through Sonic sessions we want to reengage over a number of times with an audience . So these repeat (re)listening processes will form the foci and we will be able to reinitiate a deeper engagements and build up on the phenomenology of sound and its listening perspectives and tune into creative and technical sonic developments as intended by the artist and experience the soundingsalong with other artistic constructs.

‘A day in the Life’ will also take the audience into the history and processes of sound how to listen to the intricacies and draw parallels with music. For Example – through live performances / Presentations , the differences of composition and improvisations and how they are followed in live performances in the indian classical and western music structures. The changes and listening perspectives inside an installation.

Sonic Sessions is realised within the framework of Five Million incidents 2019-2020 supported by Goethe-Institut / Max Mueller Bhavan in collaboration with Raqs Media Collective | This project is made possible with a grant from India Foundation for the Arts under its Arts Practice Programme, with support from the Sir Ratan Tata Trust (SRTT))

Sound Reasons Festival VII | 2019 – 20 | 10 year Anniversary | Local HUBs | Akusmata – HELSINKI |

ish — Sun, 19 Jan 2020 17:04:02 +0000

We are planning something very different to mark the 10 year anniversary at Sound Reasons. Here I want to extend the outreach of the Sound Reasons Festival VII - across various cities around the world so that it can truly reflect the creative and the curatorial content at Sound Reasons and in turn represent the complex medium of Sound Art and contemporary electronic music.

These activities for this edition of the Sound Reasons Festival will be spread across 2019 – 20 with curatorial events reflecting and reacting each other. Therefore as part of a multidisciplinary domain, our objective as a festival and a creative space is to curate concerts, installations, collaborations, recording sessions and live performances with the main focus on Sound Art, contemporary Jazz and experimental electronic music. These are the core activities and is a creative/ collaborative spaces where we are looking at some collaborations based on venue, brand placements and other engaging activities

Session 1 | HELSINKI – Akusmata | HUB Series | 14 – 16 Nov 2019 |

The first Session of the festival will take place in Helsinki in collaboration with the Akusmata Gallery in Nov 2019

Thursday 14 Nov OPENING
Sound Installation | Live Performance | 1700 Hrs

Friday 15 Nov LIVE
Sound Installation 1700 – 1900 Hrs | Concert 1900 Hrs

Saturday 16 Nov LIVE
Sound Installation 1500 – 1600 Hrs | Concert II 1600 Hrs

CURATORS NOTE

Sound Reasons is a festival for Sound Art, contemporary Jazz and electronic music which takes place in India and South Asian region from the months of October – December each year. The previous editions had a great response as some of the top most artists in the field of Sound Art, Jazz and electronic music. Over the past 10 years we have represented over 70 artists from around the world including contemporary artists – Senking, Zimoun, Grisha Lithchenberger, Hans Koch (Bass Clarinet), Dr Nigel Helyer(Sonic Objects), Christian Skodt, Venzha Chris Jio Shimizu, Raul Keller, Robin Meier and Bernd Schurer to name a few.

More importantly this year via the Sound Reasons Festival it will be important to address the dualism between physical and virtual spaces, and how contemporary Sound art woks and creativity – like live concerts and more importantly installations can be presented across both across physical and electronic mediums. So the primary activities will encompass installations and live performances which can take place in different parts of the world, but their experiences and phenomenons will be represented and extended through Virtual mediums like Virtual Reality (VR), Augmented Reality(AR), Live Streaming and podcasts. These works therefore will be available to a bigger audience, and the activities will also facilitate the documentation and building (and expansion) of an online archive of Sound art and practices from around the world with the focus on South Asian Artists. Therefore for the Sound Reasons Festival VII the live events will be ‘streamed online’ to form the curatorial framework of the Sound Reasons Festival on the digital platform.

Ish S | Nov 2019 |

Please check the Sound Reasons website at http://soundreasons.in for more information and updates.

FINISSAGE | Sound Reasons Festival VI | TUE 20 Nov 2018| Live Performances | Walk Through |

ish — Mon, 19 Nov 2018 20:08:43 +0000

Sound Reasons Festival VI | FINISSAGE | Live Performances | Walk-Through |

Exhibit Open till Wed, 21 November 2018

MON, 19 Nov – 21 Nov 2018
WALKTHROUGHS | 6 pm onwards

CURATORS NOTE | ReINSTALL

For the second and the third ReINSTALL sessions of the Sound Reasons Festival VI, we have engaged with the possibilities of Sound and its capabilities to make unseen connections, to hold un-assumed narratives and produce curative and creative tensions. While expanding upon the spectrum of the potentiality in Sound, we want to initiate a listening experience using artistic explorations and inter-media intersections.

In these works there is an interplay of text, video, synthesis, sampling, narratives with other creative practices and musique concrete processes. We conduct a curative dialogue with other mediums in which a listener is invited to explore its generative phenomenological possibilities rather than preserve/observe the actuality of the sonic event(s). It is therefore listening into a world, in order to hear what all it could be – to reconsider the frame of current actuality and explore the complexity of its sonic perceptions. This curative iteration is a thin slice of the sonic spectrum that reveals not just itself, but also opens up to newer resonating worlds for a listener, where the aim is to illuminate and generate the dynamically plural possibilities and not to just categorise and preserve it as a soundscape.

Ish S | Oct – Nov 2018

Please check the Sound Reasons website at http://soundreasons.in for more information and updates.

Sound Reasons Festival VI | OPENING | Friday 14, Sep 2018 | Korean Cultural Center | New Delhi |

ish — Fri, 07 Sep 2018 15:41:25 +0000

Sound Reasons Festival VI | Sound Art | Electronic Music

Friday, 14 September 2018 | 6 pm onwards
Sound Reasons Festival VI | OPENING
Sound Installations | Live Performances
Walkthrough | Presentations

Exhibition is open till 22 November 2018

Korean Cultural Center
24 A Ring Road
Lajpat Nagar IV
New Delhi

Sound Reasons Festival VI for Sound Art and contemporary electronic music will take place here in India and the main part of the Sound Installations and live performances will take place at the Korean Cultural Center in New Delhi. This will be the first part for the festival and it will take place form the 14^th of September to the 22^nd of November 2018. Our curative focus this time is on the Indian and the Asian Sound Art scene. Creative activities will include live performances, workshops and Sound Installations that will happen across various venues in Delhi, Goa and Banglaore. Additionally, we will be extending some of our activities right well into the month of February in 2019. Here in the following is the first list of artist curated at the festival and more names will be added in the future

Venzha Christ
Marcus Maeder
Shun Owada
Arnont Nongyao
Salomé Voegelin
Ish S
Cathy Lane
Suvani Suri
Paul Purgas
diFfuSed beats
Lisa Hall
Hannah Kemp-Welch
Wicked Mannequins
Bidisha Das
Kaushal Sapre
Dipali Gupta

Please check http://soundreasons.in for updates on the events, live performances and installations as some of them are still under process and will be finalised over the next few weeks. The opening is at the Korean Cultural Center, New Delhi with Sound Art Installations and Walkthroughs.

More importantly, in the next couple of months we will be announcing additional artists for the our creative activities which will include live performances, recording and collaborative sessions as a part of the Sound Reasons Festival. These activities will extend well into the months of February and March in 2019. Please do keep checking out the website http://soundreasons.in for further updates. Other Important date in New Delhi is

So again here we would like to remind all the artists who have applied through the ‘Artist Call’ that their entries/ works are still relevant for this along with the future editions of the festival. These will also include other creative activates at Sound Reasons that happen all year round. More information on these will be updated here in the last half of October 2018 on the Sound Reasons Website.

CURATORS NOTE

The world is heard; its sonic space and time is generated through the complex unity of listening and perception. At Sound Reasons this listening becomes the centrepoint of an innovative and generative practice, and as a strategy of engagement to explore different curatorial landscapes each time. The experience of the works presented at the festival shows a unique spectrum of the many possibilities of Sound. At the Sound Reasons Festival we want to initiate such listening(s) through explorations and inter-media intersections as we engage the world and our lived experience through sound.

Sound as a medium is very dynamic and its activities and forms can be experienced and appreciated through a continuous engagement over time. The characteristics of continuity and redefinition are complex, yet vital, to positioning Sound Art as a truly post-modern form. At Sound Reasons I have used an open-ended approach to curation in order to navigate the complex waters of Sound Art to extend and enhance the individual or collective experience. Therefore, at the Sound Reasons Festival the medium and its processes are always the foci and need to be engaged with and explored.

‘The sonic frame’ in the form of experiences curated and generated here is as intangible as sound itself, and is redrawn countless times. The installation by Venzha Christ uses DIY receivers to convert radio waves from space into an audible spectrum, that can be experienced along with a visualisation of the same. In the second installation called ‘Circle’, I have sonically interpreted the opposite side of an astronomical Event Horizon, which forms a listening field where the body and sound can meet (on the horizon). These two become objective and subjective interpretations of the universe that surrounds us. Therefore, while extending these listening experiences, the curatorial direction is not located in history or in sociopolitical discourse, but is rooted deeply in the experiential realm – in the now, in the immediate submission to it. And in this becoming, the imagination is almost more important than reality, the virtual more significant than the real. The fleeting experience of the sounds and the noise is the unique construct of the individual and not of her/his history or cognitive development.

Finally, for the sixth edition of the Sound Reasons Festival we have a great opportunity to represent the Asian scene with a focus on South East Asian Sound Art. By uniting the artists with similar creative processes and with a lens on the phenomenological and on listening, newer patterns have emerged. Over the next few months various live performances and sound installations will be presented tracing these hybrid patterns, with the momentum not settling on broad themes as offered by the visual arts, but on developing the immersive experience and newer languages and strategies for its interpretation

Ish S | Sep 2018

ART WORKS

Venzha Christ
EVOLUTION OF THE UNKNOWN #07
8 DIY Antennas, 8 DIY Signal Receivers, 4 speakers, 2 Frequency Visualisations

The art installation here results from the science of radio astronomy. The installation presents radio waves from space, sent and collected through self-made radio antennas gathering precise data from astronomical objects in space. The transmitted signals received from the planets and stars are then visually displayed and decoded into audible sounds which constitute the soundscape present in this gallery. Radio waves, together with light waves, have changed the way we view the Universe and dramatically increased our knowledge of it.

The Indonesia Space Science Society, shows us that that space is a continuous source of inspiration that compels practitioners from all fields to understand the universe we are within, using both tools and ideas of science, and those of art. This collaboration project between ISSS and Sound Reasons, will continuing to International SETI (Search for Extra-Terrestrial Intelligence) Conference in Yogyakarta Indonesia November 2018.

About Venzha Christ
Working with artists, scientists, astronomers and engineers in Indonesia, Venzha Christ established ISSS – Indonesia Space Science Society as a framework for the exploration of space from a different perspective. Whilst lacking the means that large space agencies such as NASA have, the Indonesia Space Science Society provides us with a compelling encounter with space nonetheless.With an interest in the external world, space signals, parallel universes, and ancient science and technology, he visits diverse research laboratories around the world and produces research-based artworks. With ISSS – Indonesia Space Science Society, Venzha Christ in fact launched Indonesia’s very first Space Science Society and this art work is developed by Venzha Christ and v.u.f.o.c lab in 2018.
Ish S
CIRCLE
8 Channel Spatailised Audio

Here I have interpreted the Sonic Horizon as a circle, where the subjective and the objective can meet. It is a process of observing and listening to the horizon up close and being on /in it. So it is a way of looking out (listening to) from the perspective of the horizon while inhabiting it. You will hear analog and digital synthesis and Juxtaposition of pure brown noise, which in this case forms the sonic perceptual horizon. Again here the point is to draw the attention and the listening to the movement of sounds in order to have deeper sonic engagement. The circle, in this case the the abstract representation of the opposite side of an astronomical Event Horizon, forms a listening field where the body and sound can meet, this can be inhabited from various angles and from both inside and outside.

There is a lot more to hear here in the quietening. The similarities of the sounding of the natural elements like that of the sea and the wind form the perceptual horizon, a line where the two meet or emerge from, the sonic horizon takes shape that can be heard and inhabited via this work using noise and its spatialusations. (Object horizon) Sonically, the horizon here engages a listening of some geometric shapes, like circles, lines, hyperbolas, angles and rotation along with some sonic/ audio processes. These are interpreted on a plane which itself is subject to change of angels There is an outside and an inside of this horizon which is drawn by the circle in the middle of the room Various locations, both inside and outside the circle evoke unique listening experiences. Phantom listening perceptions will sometimes complete one spatial hearing perspectives, where the shapes are left out incomplete intentionally. There is outer limit of the horizon that can be heard form the corners of the room, where from far away the perception of the sounds in the center of the circle will become linear. Moving around therefore will give heterogenous perception of the installations and the sounds.

Ish S | Sound Art | Multi Channel Sound Installations | Video Documentation | VIDEOS |

ish — Sun, 12 Aug 2018 17:07:19 +0000

Ish S | SITTING STILL | Spatial Sound Installation | 6 – 8 Channel Diffused Audio | from Sound Reasons on Vimeo.

Sound Installation Documentation and Video | Ish S |

Ish S
Sitting Still – II / Faulty Scales
6 Channel Spatial Sound Installation

These are a set of two sound installations based on spatial listening processes. Here, the sound develops spatially and its discovery unfolds itself in the present, bringing with it the experiences of sound and listening as an immersive spatial sculpture. The audience is encouraged to navigate the sonic space in order to get a heterogeneous perception of sound, time and space created within the installation. This work also juxtaposes a subjective rhythmic layer which spatially evokes the loose and almost organic rhythm of ‘folk music’ from india. When paying close attention the listener can pick up on two, and sometimes three rhythms, these can be heard slightly flowing in and out of synchronicity within the installation space.

These installations are about listening and its subjective nature. They are a sonic heterotopia in which various experiences are created which are both imagination and reality. Sound, here, is created in the listening of it while its invention is in the imagination of the listener. The sound outlines the creative interplay between the objectivity of the sonic phenomenon created and the subjectivity of the perceptions filtered through individual experience. Imaginary spaces and narratives can be drawn to trace individual experiences of listening to the sonic works installed from various points in within the installations. These non-locational perspectives, in turn, initiate deeper immersive listening experiences while drawing attention to the finer points of sound, its movements, its progress through spacial form.

A View of Taichishengshui by Ish S as a part of Sonic Horizons at Vadehra Art Gallery, 2018

ISh S – Sound Installation | Multi-Channel Sound installation | Moth and a Room | Faulty scales | from Sound Reasons on Vimeo.

SONIC HORIZONS : Spatial Sound Installations | Vadehra Art Gallery | New Delhi | 29 June – 10 July |

ish — Wed, 27 Jun 2018 19:35:40 +0000

Sound Reasons

LAB Sessions
SONIC HORIZONS

Various Artists

Sound Installations:
Ish S
diFfuSed beats

Exhibition Dates:

29 June – 9 July

Fri, 29 June Preview | Sound Installations | 7 pm onwards

Vadehra Art Gallery
D – 53 , Defence Colony
New Delhi

Two set of installations will be developed as part of Sound Reasons : SONIC HORIZON – LAB Sessions in the form of multi-channel spatial sound installations with creative intersections and interventions in the form of live performances, Contemporary Dance and Video Art to name a few. The Sessions will be typically set in 2 parts and its interpretations by artists across other mediums will be presented along different timelines at the Vadehra Art Gallery.

The main aim at Sound Reasons’ Lab Session will be to interpret the phenomenological aspect of the ‘Sonic Horizon and its heterogeneous perceptions and experiences. So to work with techniques which build up various Sonic Heterotopias which are derived out of the fleeting experience of listening and the emotional/ perceptual entanglement of the phenomenological and the imaginary/ indeterminate within the multi-point articulation of the ‘Horizon of sounds’. The Sonic Horizon sometimes can be a place where the subjective and the objective meets and as a experience of our own generative perception we produce the objectivity from our subjective position of listening, which is constituted (created) by the object. They are reciprocal and equivalent and in their meeting on the Sonic Horizons they are sometimes different. The sound installations presented here are based on ‘spatial listening processes’ and the audience is encouraged to navigate the sonic space as each location gives a heterogeneous perception of sound, time and space created within the installation. Here, the sound develops spatially and its discovery unfolds itself in the present, bringing with it the experiences of sound and listening as an immersive spatial sculpture.

Additionally, experiments with the other mediums will add to the interpretation of sound as the Horizon and these creative intersections will produce interesting juxtapositions where the processes and the respective mediums becomes the phenomenal subject to interpret the Horizon.

The LAB session this time in the form of SONIC HORIZONS is intended to be in the format for collaborations based primarily on Sound installations as the point of departure. It is also about accessing the points and planes creatively between sound and other mediums. Primarily, the aim will be to engage the artists and the audience with the sonic processes and the mediums where cross pollination of ideas and collaborations can happen. The works will be devoloped and changed all throughout the exhibition period and the creative material generated at the intersection(s) of these sound installations and performances will be presented at VAG in 2 parts containing presentation/ multi channel immersive sound installations, Video Art & performances.

For more details and information about the ‘Sonic Horizon’ LAB Sessions please visit http://soundreasons.in

Email : ish@soundreasons.in

SONIC HORIZONS at Vadehra Art Gallery from Sound Reasons on Vimeo.

Sound Reasons | ALCHEMY | Double Album | Live Sessions | AUDIO | DOWNLOAD |

ish — Fri, 02 Mar 2018 20:16:27 +0000

SOUND REASONS
Alchemy | LIVE Sessions | R
Double Album Release | recorded at the Sound Reasons Festival III | 2014
featuring artists

diatribes
feldermelder
Senking
diFfuSed beats
Thomas Peter
Lars Lundehave Hansen

This album features Senking, diatribe, feldermelder, Lars Lundehave Hansen, diFfuSed beats (Ish S ) and Thomas Peter. The Sound Installations here are created by Ish S and these installations are about listening and the subjective experiences derived. It is a sort of sonic heterotopia wherein various experiences are created which are a part of both the imagination and reality. The sound here is actually created spatially in the listening of it and in its inventions is in the imagination of the listener. Here, the sound develops spatially and its discovery unfolds itself in the present, bringing with it the experiences of sound and listening as an immersive spatial sculpture.

Points in Space – II | Spatial Sound Installation @ When Is Space ? | 21 – 23 Jan 2018 | JKK Jaipur |

ish — Fri, 02 Mar 2018 19:48:36 +0000

POINTS IN SPACE – II | When is Space ?

21 – 23 January 2018

Spatial Sound Art Installation | 6 channel Audio
by ISh S and diFfuSed beats

Points in Space – II is a set of installations created at Sound Reasons by Ish S and diFfused beats over the past 8 years. A couple of the multi-channel works presented here have been created in collaboration with Raqs Media Collective and Vivan Sundaram. These sound installations are based on spatial listening processes and the audience is encouraged to navigate the sonic space in order to get a heterogeneous perception of sound, time and space created within the installation. Here, the sound develops spatially and its discovery unfolds itself in the present, bringing with it the experiences of sound and listening as an immersive spatial sculpture.

These installations are about listening and the subjective experiences derived. It is a sort of sonic heterotopia wherein various experiences are created which are a part of both the imagination and reality. Sound here is actually created spatially in the listening of it and in its inventions is in the imagination of the listener. The sound works presented at Points in Space -I outline the creative interplay between the phenomenological objectivity of the sonic phenomenon created and the subjectivity of the perceptions filtered through individual experiences. Imaginary narratives can be drawn to trace the individual experiences of listening to the sonic works installed from various ‘Points in Space’. These non-locational perspectives in turn initiate deeper immersive listening experiences, while drawing attention to the finer points of sound, its movements, its processes and its form through spatiality.

21 – 23 January 2018
LAWN | installed with the 5 Gardens by Sameer Raut
Jawahar Kala Kendra
JAIPUR

The idea of boundary is critical in human understanding of space – we think of space through its form and that form gives space a boundary. This work explores the possibility of making that boundary unstable. The work creates a space with dynamic boundaries. In this exhibition you may not find drawings and models as representation of architecture and space.

This exhibition is about providing experience of space and it’s explorations. We invited 27 architects and artists to inhabit the Jawahar Kala Kendra and make new spaces. This exhibition is also about practices – we invited people who have had a continuous exploration of a question and have been experimenting with an idea for a long time over many projects.

It is an effort to bring a moment of their practice here to JKK. The exhibition draws inspiration from the ideas of Sawai Jai Singh, the astronomer king who established this city of Jaipur and Charles Correa, the architect of JKK. The ideas of these two individuals became the provocation for the architects and artists to respond.

Spatial Sound Installations | Points in Time – I | What Time is it |

ish — Sat, 16 Dec 2017 07:41:00 +0000

Sound Installation at What time is it
Technologies of life in the Contemporary
15 – 16 December 2017

POINTS IN SPACE – I | Installed at the 5 Gardens

Spatial Sound Art Installation
by ISh S and diFfuSed beats

Points in Space – I is a set of installations created at Sound Reasons by Ish S and diFfused beats over the past 8 years. A couple of the multi-channel works presented here have been created in collaboration with Raqs Media Collective and Vivan Sundaram. These sound installations are based on spatial listening processes and the audience is encouraged to navigate the sonic space in order to get a heterogeneous perception of sound, time and space created within the installation. Here, the sound develops spatially and its discovery unfolds itself in the present, bringing with it the experiences of sound and listening as an immersive spatial sculpture.

15 – 16 December 2017
LAWN | 5 Gardens by Sameer Raut
Goethe Institut / Max Mueller Bhavan
New Delhi

Conference programme: http://sarai.net/what-time-is-it-14-16-december-2017/

Conference Convenors: Ravi Sundaram, Ravi Vasudevan (Sarai-CSDS) + Raqs Media Collective (Monica Narula, Jeebesh Bagchi, and Shuddhabrata Sengupta)

Have we finally entered the End of the End of History? (E-flux, Journal #57 – Sept 2014). Recent media technological transformations have thrown into confusion many existing political and social theories; art, media philosophy, politics, biology; in fact all ideas of life presented in the last century. Are these the jumbled signs of ‘our’ contemporaneity? The idea of the contemporary has been around for a few decades, seen variously as a period, a critical gesture, and a disciplinary frame for literature and art. We believe the time is right to revisit the idea of the contemporary from a different lens, outside the closeted frameworks of a Euro-American debate where contemporaneity appears as a unstable successor to modernity and postmodernity.

In the past decade we have seen the worldwide spread of media and information networks. Since value is now gained from experience, new corporations and political parties deploy strategies of agglomeration using digital media technologies. Growing computational grids inaugurate storage and surveillance technologies that are affecting fields like the environment, finance and law. Machine time disturbs historical continuity and sequence. Genetic engineering and life storage technologies disrupt the idea of the biological life span; media memory and recording technologies have already transformed the lives of mobile phone users in the world. Media-enabled populations in Asia, Africa and Latin America are now part of a new infrastructure of the senses.

Since 2000 digital infrastructures have produced a new generation of art and media practitioners. Like the West, capitalist enterprises in Asia, Africa and Latin America are facing new challenges and opportunities with informational networks. Like everywhere, such transformations have set in motion a sense of indetermination and flux, providing opportunities, shadow zones and critical discourses.

This conference seeks to explore experience from the vantage point of these media-informational transformations. We will be debating art practice, cultural theory, media aesthetics, social theory, forensics, urbanism, and the landscape of the political. Time horizons and its philosophies are a major concern of the conference, as we seek to displace the idea of the contemporary as (just) a ‘present’ without limits.