Sound Camp [0 – |]
Matters summer starts with a week-long intensive sound camp [0 – |] for beginners in sound. “Beginners” in this particular case is a rather loosely defined category, if in doubt – get in touch with email@example.com
The program consists of three [modules]:  sound composing,  graphic notation,  Pure Data. During each of the modules the participants will be provided with the skills in: sound production and reproduction (various phases), recording and processing, fundamentals in sound synthesis, programming, composition. By the end of the week program, participants will present results of their individual and / or collaborative work in a live concert or otherwise, depending on the pandemic situation requirements.
The [modules] are proposed and facilitated by: Brigitta Bödenauer – sound, film and installation artist, industrial music DJ from Austria; Vygintas Orlovas – artist and researcher, lecturing on interactive arts and Pure Data programming environment, among other things, in Vilnius Academy of Arts; William Bilwa Costa – a conceptual artist, researching noise via/and architecture as well as a variety of dialogical forms. More information about each of the modules and lecturers will be available shortly.
The activities of the [0 – |] camp will take place daily for a week, from 31st of May to 4th of June, from 10 am to 6.30 pm. Format of the workshop – hybrid (partly online, depending on the pandemic situation). The results of the workshop will be presented during the events of 5th June. Next to the main workshops of the camp, the participants of the program will be provided with some reading materials, films and, if situation allows, informal non-curricular exchange.
We seek to provide those that have no possibility – due to health of geographic reasons – to participate in the program activities online. Hence two groups are organised: one group of participants for in-class learning experience, and one – for online participation. The format applied for will need to be selected on the [application form].
Applicants from places other than Kaunas will be provided with accommodation (please indicate the need thereof in the application form). We also offer the possibility to partially or fully cover travel expenses for selected applicants (due to the pandemic mobility regulations it might not be applicable for participants outside of Lithuania, please get in touch for more information). The participants taking place in the in-class workshop will be provided with lunch and dinner daily during the duration of the camp [0 – |].
We’ll be accepting applications until the 23rd of May, to take part, please fill the form in [here]. Please note that precedence will be given to participants that are able to participate in the program in its entirety. By the end of the camp the participants will be issued a certificate of attendance if the entirety of the program has been attended.
[Module] Composing with sound
The aim of this module is to provide the participants of the program with tools for making sound compositions based on recorded sounds. Brigitta Bödenauer, running the module, will encourage to engage in critical awareness of listening and explore the techniques of cut-ups and sound collages.
The workshop will be based on field recordings and foley sounds that the participants will record with their own equipment (phones or other recording devices available). During the meetings, they will go through basic steps of how to compose with the recorded material. The participants will work with a particular focus with editing, automation, creating space and depth, warping/time stretching and mixing.
Each participant will create a composition that will be presented at the end of the week. Software to be used in the process: Ableton Live.
The workshop is aimed at beginners, however, participants that have prior experience in working with sound will certainly find interesting and important concepts to explore.
Brigitta Bödenauer is an Austrian sound, film and installation artist. A DJ in Vienna’s noise and experimental scene since early 1990s, a lecturer and writer on film and visual media, in her artistic work Brigitta is interested in the movement of both light and sound, in representation of the inaudible through structures of light, and in the space in sound. Both in her visual and sound work she is exploring that which is beyond the tangible, from the tail of the reverb in a long dark tunnel, to emotionally charged sounds in political protests.
[Module] Graphic notation
The aim of this module is to provide the participants with some tools in working with the sound composition in a creative way.
Can architectural forms be translated into sonic compositions? Bilwa, the lecturer behind the module, proposes that you try. Following the principle “form follows function” of late 19th century – early 20th century architecture and design, the participants of the workshop will explore the potentials of utilizing an existing composition, specifically architecture, as a premise for creating graphic scores for sound composition. The goal is to experiment with the idea of finding composition in our urban surroundings.
The participants will photograph architecture in Kaunas [or elsewhere in the environments available to them, would the workshop be taken as an online module*], searching for commonalities, such as reoccurring forms, motifs, shapes, lines etc., as well as unique features, which may be original design or later additions to the original, such as additions or repairs. The forms photographed will then be used to cultivate a variety of small details, and repurpose their functions by creating individual palettes of symbols, assigning a distinct meaning to each. Once established, this palette will be used to notate graphic scores for sound/music composition. The goal is to create a system, or vocabulary, which can be explained and translated as a music notation. Participants will create individual palettes as well as one collective pallette.
WILLIAM BILWA COSTA
William “Bilwa” Costa is a conceptual artist based in Berlin, working in performance, sound and visual arts contexts. With a background in dub, visual art and design, Bilwa is exploring experimental multidisciplinary approaches to composition and performance of electro-acoustic music and sound art. He is interested in collaboration and exchange, hence through the artistic practice he is aiming at creating spaces for dialogue for practitioners from various fields. Pursuit of the dialogical approach and the interest in interdisciplinary exploration between the noise and architectural matters is among the reasons for which Bilwa has become a returning resident artist in the framework of the programme Matters.
[Module] Pure Data
The goal of this module is to provide the basics of programming with Pure Data: starting with the fundamentals, such as basics of sound synthesis, moving on towards integrating sensors into the digital audio workstation (furtheron – DAW). Two themes are proposed for the participants of the programme – both those with minimal experience in Pure Data and those that have none:
- x) constructing an instrument using Pure Data programming environment. The participants will choose an instrument of their interest – such as Moog Subharmonicon, ELTA Music Solar 50 or other, – and will learn by constructing their digital replica, possibly with additional effects and functions. The signal of the instrument constructed will then be liaised back to the DAW of the participant (Ableton, FL Studio, Logic Pro, Bitwig, Cubase).
- y) Integration of sensors via Pure Data into the DAW used by the participant (Ableton, FL Studio, Logic Pro, Bitwig, Cubase).*
Pure Data is an open source visual programming language, which is used for music making as well as for visual creative work. Pure Data can be used to process both audio and midi signals, as well as to liaise them with video, external controllers etc. It is widely used in interactive and audiovisual arts, robotics, even in video games production. Pure Data runs on Windows, Linux and Mac operating systems.
Vygintas Orlovas is an artist and researcher. He is interested in communication, interference, the interrelations between the visual and the sonor as well as perceptions thereof. Since 2015 Vygintas has been lecturing in the Department of Site-Specific Art. At present he teaches the basics of interactive arts and Pure Data programming environment, among other things.
Vygintas’ interest in the possibilities of and in-between the fields of sound and visual, have led him to an internship on Schlieren Flow sound analysis at OptoSigma, Japan. In 2019, Vygintas Orlovas defended his doctoral dissertation “Transformation: connections between visual and sound. Complex analysis of creating sound-scapes”, and presented his doctoral research in a personal exhibition “xqvhawhhef”.
* This part of the module will slightly vary depending on participation mode (online / on-site).
Curator Daina Pupkevičiūtė