sound, transvergence, Pacific Rim, audio sculpture, installation, performance, soundscape SoundCulture is an international collective doing sound-related work that explores artistic and cultural contexts for this work outside of the traditional modes of presentation of music. For members of SoundCulture, sound is a transvergent medium. Presentation of sound in public works and installations involves objects and systems for producing sound, interactivity, and other modes of presentation associated with the plastic arts. SoundCulture practioners are increasingly object makers, programmers, and visual artists. In this panel discussion, SoundCulture artists will discuss this aspect of their current practices in particular, and how working from a background in sound informs these other activities.
Abstract SoundCulture was first initiated by a group of artists and arts organizers in Sydney to advocate, develop and produce a 'culture of sound art' which emphasizes the varied and unique qualities of sonic activity taking place in the pan-Pacific geographical zone. SoundCulture has since expanded into an international collective of artists doing sound-related work, and exploring the various artistic and cultural contexts for this work outside of the traditional modes of presentation commonly employed for music. SoundCulture activities grow out of the substantial and complex history of experimental sound sculpture, installation, performance and radio arts while negotiating current developments in sonic practice and emergent technologies. SoundCulture also takes a proactive role in developing a critical discourse in the sonic arts manifested in conferences, seminars, workshops, and publications. Local SoundCulture groups focus on the development of a 'sound culture' in their region but also integrate their activity at an international level by networking with other SoundCulture groups — sharing resources, programs and opportunities wherever possible. For most members of SoundCulture, sound is a very transvergent medium. Presentation of sound in public works or installations often involves the visual, objects and systems for producing sound, interactivity, and a host of other modes of presentation normally associated with the visual or plastic arts. Likewise, the venues commonly employed for such projects likewise spill into area more commonly previously intended for visual art. SoundCulture practioners and curators, while still primarily concerned with the issues of sound and its roles in our contemporary culture, public private spaces, and soundscapes, are also increasingly object makers, programmers, and visual artists as well. In this panel discussion, SoundCulture artists will discuss this aspect of their current practices in particular, and will discuss how the process of working from a background and interest in sound informs these other activities. URLS: Shawn Decker Ed Osborn Nigel Helyer |
