Search results for 2010
Keynote Michael J. Morgan: Representation of Space in the Brain (Sonic Acts XIII, 2010)
As Descartes realized, there is no obvious reason why an image has to represented as another image in the brain. Yet, it is, at least in the early stages of representation. Reasons that have been advanced for this topographical representation include the need to establish ‘local sign’ during the development of the brain; the advantages of short-range connections over long nerve tracts; the simple mapping of sensory information onto motor maps; and the need to keep the maps from different senses in register.
Paul Prudence: Generative Spaces: The Spatiotemporal Subroutines of Runtime Planet Earth (Sonic Acts XIII, 2010)
From the global to the microscopic, the Earth runs subroutines that generate a multiplicity of complex patterns & emergent spaces – their runtime(s) lasting from anywhere between a few milliseconds to millions of years. Paul Prudence discusses the metamorphic algorithms, hydrodynamic computations, aeolian protocols and sonic mechanisms, sometimes acting in collaboration with living organisms that define the dynamic generative forms and spaces around us.
Dark Ecology Interview Tim Morton
RESEARCH SERIES #6 During the first Dark Ecology journey, which took place from 9 to 12 October 2014, a group of artists, researchers and theorists travelled the border zone between Norway and Russia. On the last day we sat down with Timothy Morton, author of amongst others The Ecological Thought and Hyperobjects: Philosophy and Ecology after the End of the World.
Interview Jananne Al-Ani
RESEARCH SERIES #24 Born in Iraq, London-based artist Jananne Al-Ani engages with the politics of the image. In her works in photography, film and video, Al-Ani interrogates our ways of seeing by undermining the structures of scale and perspective in which visual culture is shaped. While her conceptual application is subversive, her methods are gentle, often resulting in evocations of assumptions which are quietly unsettled. Julian Ross interviewed Al-Ani when she attended the Sonic Acts Festival in 2015 for the screening of her two films Shadow Sites I and Shadow Sites II.
Interview with Karl Lemieux
RESEARCH SERIES #16 Live presence is not often considered to be a part of cinema, but Karl Lemieux thinks it should be. Using 16mm projectors as his principal tools, the Montreal-based artist employs various tactics to manipulate both the film material and apparatus itself during the act of projection—an approach that results in a distortion of the image. Working with Swedish composer and sound artist BJ Nilsen, Lemieux shot footage on the border between Russia and Norway. This would be the basis of their collaborative performance, unearthed, presented at the 2015 Sonic Acts Festival in Amsterdam.
Naut Humon: Transitions of the Spacial Station (Sonic Acts XIII, 2010)
Director of Recombinant Media Labs (RML) Naut Humon (USA) speaks on the formation, deployment and current activities of California’s Recombinant Labs and their West Coast affiliates. RML is an experimental mobile facility for the experiential engineering of surround cinema and immersive arts. Recombinant is a term derived from the field of genetics. Springing from this elastic media grid is a process which illustrates how an electronically strained ‘offspring’ comes to possess cultural characteristics not always present in either ‘parent’.
What Is Dark Ecology?
RESEARCH SERIES #26 In this essay, which draws on his book Dark Ecology, For a Logic of Coexistence, Timothy Morton — who originally coined the term dark ecology — explains what dark ecology is. He also argues how agrilogistics underpins our ecological crisis and our view of the world.
Jennifer Walshe, Timothy Morton, Áine O’Dwyer, Lee Patterson, M.C. Schmidt, Streifenjunko and Vilde&Inga – Time Time Time
Time Time Time is an operatic work written by Jennifer Walshe and Timothy Morton, which premiered at Sonic Acts Festival 2019. Morton and Walshe join forces with an ensemble of renowned musicians and sound artists to explore the multiplicity of temporalities at the heart of being human.
Hildegard Westerkamp: What’s in a Soundwalk? (Sonic Acts XIII, 2010)
This presentation will be a reflection on seven years of public soundwalks put on by the Vancouver Soundwalk Collective within the cultural context of Vancouver New Music’s concert and performance seasons. It will trace how this continuity of soundwalk activities over time and with increased involvement may have shifted and deepened experiences in listening and relationships to space and place. Have they altered cultural, political and ecological attitudes within the Collective, changed and inspired daily life activities, work, studies, creative processes?
Daniel Teruggi: The Fifth Element (Sonic Acts XIII, 2010)
Positioning sound sources in space permitted new perspectives and conceptions of the effects space could exert on music. At the Groupe de Recherches Musicales (GRM) musique concrète evolved alongside the sound systems and carriers that were used to compose the music. This multiple approach has important implications for the composition of music, as well as for the tools and environments needed for it.
Ralf Baecker: Rechnender Raum (Sonic Acts XIII, 2010)
Rechnender Raum (2009) is a light-emitting geometrical sculpture made of sticks, wires and small pieces of lead that is simultaneously a fully functioning neural network. The functioning of the machine is completely transparent, but it carries out its computations only for itself, concealing the results.
Edward Shanken and Yolande Harris: Tuning In and Spacing Out: The Art and Science of the Presentness of Sound (Sonic Acts XIII,2010)
A presentation that explores sound and space as modes of understanding environmental phenomena. Drawing on a variety of examples from sound art, visual art, and science, Harris and Shanken weave together extreme ideas from the mythic and scientific significance of marine mammals to the surprising interconnectedness of the sea andouter-space.
Jan-Peter E.R. Sonntag: raum-Arbeiten – The Space of Sound and Acoustic Architectures (Sonic Acts XIII, 2010)
In 1993 I realized, on an IRCAM Workstation, together with programmer Jörg Spix, the first endlessly rising and falling movements in noise to create a paradoxical situation of perception by a simulated volume movement in the space. The main problem of talking about the acoustic space is, that what we call hearing happens in our brain and not only with the ears, with the space of our body too, and also combined with all the other senses. Sonntag will talk about the theoretical background and the development of his raum-Arbeiten and sonic architectures.
Hans Christian Gilje: Conversations with Spaces (Sonic Acts XIII, 2010)
HC Gilje researches how audiovisual technology can be used to transform, create, expand, amplify and interpret physical spaces. In his own work he works with real-time environments, installations, live performance, set design and single-channel video to make this research tangible.
Marcos Novak: 21st Century Invisible Architectures: The Poetics of Transactivated Space (Sonic Acts XIII, 2010)
Spaces are the lightest of media, demanding the greatest subtlety in both sensibilities and poetics. Initially trained as a physicist, Gaston Bachelard used phenomenology to build a philosophical bridge between the science of space and the poetics of making significant places.
Robert Whitman: On Experiments in Art and Technology (Sonic Acts XIII, 2010)
In his lecture Robert Whitman discusses the way that he has used space as part of the vocabulary of his installation and performance pieces. In 1966 Whitman was one of the New York artists who worked with Billy Klüver and more than 30 engineers and scientists from Bell Telephone Laboratories to create works for the now legendary 9 Evenings.
Annea Lockwood (Interview by Arie Altena) (Sonic Acts XIII, 2010)
Annea Lockwood has been involved in the recording of environmental sounds for a long time, her A Sound Map of the Hudson River (1989) and A Sound Map of the Danube can be considered as classics of the genre. An informal interview with her will touch on her views on field recording, composition, and sound mapping. Hildegard Westerkamp, Edward Shanken & Yolande Harris will also join the conversation.
Christopher Salter: Immersion, Absorption and Dissolution in Cross-modal Environments (Sonic Acts XIII, 2010)
This talk will examine the repercussions of Turrell’s and Irwin’s proposal to investigate the thresholds of perception in an experiential environment. Specifically, I will focus on the conception of the self and body in both contemporary artistic practices with media coupled with recent concepts arising from enactive cognition. What role does spatiality play in these synchretic perceptions? What happens to the ‘sensing self’ and its embodiment in audio-visual environments that overload or reduce our perception and how does this self expand or dissolve through such encounters?
Philip Beesley: Responsive Environments (Sonic Acts XIII, 2010)
This lecture was part of Sonic Acts XIII within a session called Gardeners of the Future. This session was about the following: In order to survive the near future, humans need to rapidly adapt to the challenges ahead. Artists will play an important role in ‘gardening’ the future, not only by shifting from computer technology to biology and genetic engineering, but also by starting to understand the universe as a single, large natural algorithm that needs gardening in order to function in a sustainable way.
Fred Worden: When Worlds Collude (Lecture & Screening) (Sonic Acts XIII, 2010)
Relations among time, space and motion have befuddled thinkers since at least the time of Zeno and his paradoxes. With the invention of cinema came a promiscuous new tool for staging various thought experiments on how best to understand the complex and often slippery interrelations among these terms.
Roger Malina: Intimate Science; Or Artists in the Dark Universe (Sonic Acts XIII, 2010)
This lecture was part of Sonic Acts XIII within a session called Gardeners of the Future. This session was about the following: In order to survive the near future, humans need to rapidly adapt to the challenges ahead. Artists will play an important role in ‘gardening’ the future, not only by shifting from computer technology to biology and genetic engineering, but also by starting to understand the universe as a single, large natural algorithm that needs gardening in order to function in a sustainable way.
Raviv Ganchrow: Sense of Ambiguity (Sonic Acts XIII, 2010)
This lecture was part of Sonic Acts XIII within a session called Architectures of Sound, in which the following questions were asked: How do composers work with spatial sound using arrays of loudspeakers? How is space constituted in music? How do we listen to the sound-space?
Keynote Derrick de Kerckhove: Beyond Perspective, From the Point of View to the Point of Being (Sonic Acts XIII, 2010)
We may be traversing a Neo-Baroque era where the effects of a dominantly visual episteme are reversed in multimedia, 3D and VR. In the global environmental perception that is developing, the point of being, that is a proprioceptive sensation of the world, may be doubling if not replacing the point of view as the principal referent of my position in space.
Jacob Kirkegaard, Labyrinthitis (Sonic Acts XIII, 2010)
Labyrinthitis (2007) relies on a principle that when two frequencies of a certain ratio are played into the ear, additional vibrations generated in the inner ear, so-called ‘distortion product otoacoustic emission’ or ‘Tartini tone’, will produce a third frequency…
Jacob Kirkegaard: Sabulation (Sonic Acts XIII, 2010)
Kirkegaard's "Sabulation" was part of "Acoustic Spaces", a more than four-hour-long programme devoted to various approaches to soundscape composition. It featured works produced by several generations of composers and musicians – from acoustic ecology to extreme field recordings.
Duncan Speakman: On Subtlemobs (Sonic Acts XIII, 2010)
This lecture was part of Sonic Acts XIII within the session The Poetics of Hybrid Space. In this session, a panel will explore the new conditions of experience emphasized by the concept of Hybrid Space through the prism of a series of artistic and interventionist projects drawing on the increased hybridity of the contemporary spaces of everyday life. The concept of Hybrid Space does away with misleading spatial dichotomies that have accompanied the rise of digital and networked media; real versus virtual; physical versus immaterial; flows versus places (Manuel Castells).
Peter Westenberg: On Urban Interventions (Sonic Acts XIII, 2010)
This lecture was part of Sonic Acts XIII within the session The Poetics of Hybrid Space. In this session, a panel will explore the new conditions of experience emphasized by the concept of Hybrid Space through the prism of a series of artistic and interventionist projects drawing on the increased hybridity of the contemporary spaces of everyday life. The concept of Hybrid Space does away with misleading spatial dichotomies that have accompanied the rise of digital and networked media; real versus virtual; physical versus immaterial; flows versus places (Manuel Castells).
Monolake and Tarik Barri: Monolake Live Surround (Sonic Acts XIII, 2010)
This performance by Monolake and Tarik Barri was part of Sonic Acts XIII: The Poetics of Space and took place in 2010. Founded in 1995 by Robert Henke and Gerhard Behles, Monolake (DE) is an open project dedicated to computer-generated music. Robert Henke was born 1969 in Munich, moved to Berlin in 1990 and studied sound engineering and computer science. His works use multi-channel audio to explore how sound can redefine physical and mental spaces, and how much time is required for the structure of a musical idea to emerge.
Monolake & Tarik Barri: Monolake Live Surround (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. This performance by Monolake and Tarik Barri was part of Sonic Acts XIII: The Poetics of Space and took place in 2010. www.monolake.de/ Founded in 1995 by Robert Henke and Gerhard Behles, Monolake (DE) is ...
Peter Westenberg: On Urban Interventions (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/peter-westenberg-on-urban-interventions-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Peter Westenberg (NL) is a visual artist and filmmaker producing short films and urban interventions, ...
Karen Lancel & Herman Maat: Tele-Trust (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/karen-lancel-herman-maat-tele-trust-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Karen Lancel and Hermen Maat (NL) create ‘meeting places’ in public spaces. These performances and ins...
Duncan Speakman: On Subtlemobs (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/duncan-speakman-on-subtlemobs-sonic-acts-xiii-2010-2/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Duncan Speakman (UK) examines how we use sound to locate ourselves in personal and political environments, cre...
Jacob Kirkegaard: Sabulation (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. ‘He tried thinking of something else. When he closed his eyes, a number of long lines, flowing like sighs, came floating toward him. They were ripples of sand moving over the dunes. The dunes were probably...
Jacob Kirkegaard, Labyrinthitis (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Labyrinthitis (2007) relies on a principle that when two frequencies of a certain ratio are played into the ear, additional vibrations generated in the inner ear, so-called ‘distortion product otoacoustic ...
Ralf Baecker: Rechnender Raum (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Rechnender Raum (2009) is a light-emitting geometrical sculpture made of sticks, wires and small pieces of lead that is simultaneously a fully functioning neural network. The functioning of the machine is co...
Keynote Derrick de Kerckhove: Beyond Perspective, From the Point of View to the Point of Being (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/keynote-derrick-de-kerckhove-beyond-perspective-from-the-point-of-view-to-the-point-of-being-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Between the Renaissance and Cézanne, the poetics...
Raviv Ganchrow: Sense of Ambiguity (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/raviv-ganchrow-sense-of-ambiguity-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. There is no single ‘sonic-spatiality’. Each approach to sound can yield diverse, yet distinct materialit...
Roger Malina: Intimate Science; Or Artists in the Dark Universe (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/roger-malina-intimate-science-or-artists-in-the-dark-universe/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Humans were designed very badly to understand the universe they live in. Our senses filter out almost...
Philip Beesley: Responsive Environments (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/philip-beesley-responsive-environments-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Beesley presents a detailed tour through his recent interactive immersive environments. Discussion of i...
Robert Whitman: On Experiments in Art and Technology (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/robert-whitman-on-experiments-in-art-and-technology/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. In his lecture Robert Whitman discusses the way that he has used space as part of the vocabulary of his install...
Christopher Salter: Immersion, Absorption and Dissolution in Cross-modal Environments (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/christopher-salter-immersion-absorption-and-dissolution-in-cross-modal-environments-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. In 1968, an unrealized proposal developed in 1968 by visua...
Panel Spatial Perception: Jacob Kirkegaard, Hans Christian Gilje & Jan-Peter E.R. Sonntag (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. How do we perceive space? How do artists reflect on the experience of space and heighten the sense of space using sound and vision in sometimes radical or radically reduced ways? This panel was part of "Ses...
Fred Worden: When Worlds Collude (Lecture & Screening) (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/fred-worden-when-worlds-collude-lecture-screening-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Lecture: After Hours in the Cerebral Kitchen Relations among time, space and motion have bef...
Jacob Kirkegaard: Acoustic Spaces and Unheard Sounds (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Jacob Kirkegaard’ works focus on the scientific and aesthetic aspects of resonance, time, sound and hearing. His installations, compositions and performances deal with acoustic spaces and phenomena that us...
Hans Christian Gilje: Conversations with Spaces (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/hans-christian-gilje-conversations-with-spaces/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. HC Gilje researches how audiovisual technology can be used to transform, create, expand, amplify and interpret physi...
Jan-Peter E.R. Sonntag: raum-Arbeiten – The Space of Sound and Acoustic Architectures (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/jan-peter-e-r-sonntag-raum-arbeiten-the-space-of-sound-and-acoustic-architectures/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology Since the Renaissance the visual sense in our Western civilisation dominates our o...
Steven Connor: Auscultations (Listening In) (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/steven-connor-auscultations-listening-in/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. A lecture which rethinks listening through tinnitus and other internal body sounds, touching on quietness, inaudibility, a...
Marcos Novak: 21st Century Invisible Architectures: The Poetics of Transactivated Space (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/marcos-novak-21st-century-invisible-architectures-the-poetics-of-transactivated-space-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Spaces are the lightest of media, demanding the greatest...
Annea Lockwood (Interview by Arie Altena) (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/annea-lockwood/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Annea Lockwood has been involved in the recording of environmental sounds for a long time, her A Sound Map of the Hudson River (1989) and A Sound Ma...
Edward Shanken&Yolande Harris: Tuning In and Spacing Out: The Art and Science of the Presentness of Sound (Sonic Acts XIII,2010)
http://www.sonicacts.com/portal/index.php/edward-shankenyolande-harris-tuning-in-and-spacing-out-the-art-and-science-of-the-presentness-of-sound-sonic-acts-xiii2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. A presentation that explores sound and s...
Daniel Teruggi: The Fifth Element (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/daniel-teruggi-the-fifth-element-sonic-acts-xiii-2010/ Positioning sound sources in space permitted new perspectives and conceptions of the effects space could exert on music. At the Groupe de Recherches Musicales (GRM) musique concrète evolved alongside ...
Hildegard Westerkamp: What’s in a Soundwalk? (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. This presentation will be a reflection on seven years of public soundwalks put on by the Vancouver Soundwalk Collective within the cultural context of Vancouver New Music’s concert and performance seasons....
Panel The Hot Space in Music (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology Steven Connor (UK) is a writer, cultural critic and the Academic Director of the London Consortium. He is the author of books on Dickens, Beckett, Joyce, ventriloquism, skin, flies, and other topics, and is n...
Dirk Hebel & Jörg Stollmann: Misuse/Technology/Architecture (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/dirk-hebel-jorg-stollmann-misusetechnologyarchitecture-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Strategies of misuse reveal the challenges and potential of space and can be turned int...
Barry Truax: Composing Music with the Environment (Lecture) (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/barry-truax-composing-music-with-the-environment-lecture-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Barry Truax was one of the members of the World Soundscape Project in 1973 at SFU whe...
Naut Humon: Transitions of the Spacial Station (Sonic Acts XIII, 2010)
http://www.sonicacts.com/portal/index.php/naut-humon-transitions-of-the-spacial-station-sonic-acts-xiii-2010/ Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. Director of Recombinant Media Labs (RML) Naut Humon (USA) speaks on the formation, deployment an...
Paul Prudence: Generative Spaces: The Spatiotemporal Subroutines of Runtime Planet Earth (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. From the global to the microscopic, the Earth runs subroutines that generate a multiplicity of complex patterns & emergent spaces – their runtime(s) lasting from anywhere between a few milliseconds to mill...
Keynote Michael J. Morgan: Representation of Space in the Brain (Sonic Acts XIII, 2010)
Sonic Acts is a biannual festival at the intersection of arts, science, music & technology. As Descartes realized, there is no obvious reason why an image has to represented as another image in the brain. Yet, it is, at least in the early stages of representation. Reasons that have been advanced fo...
Homage to Dick Raaijmakers at ICMC
After thirty years, the internationally renowned conference on computer music ICMC (International Computer Music Conference) is returning to the Netherlands. On Tuesday September 13 ICMC invites Thomas Ankersmit & Tarik Barri for a special performance of 'Homage to Dick Raaijmakers' and 'Versum' at TivoliVredenburg in Utrecht.
BJ Nilsen – ORE
ORE is an acousmatic work that reveals the artist’s research into the mining of iron ore and its impact on society and cultural relevance. The work was developed for the Acousmonium sound diffusion system during a residency at Ina GRM, Paris, and was presented at Paradiso, Amsterdam, as part of Sonic Acts Festival 2019.
Sonic Acts Festival 2013 – The Dark Universe
For The Dark Universe, Sonic Acts brought together scientists, artists, theorists, musicians and composers. They investigated how to make the invisible imaginable, taught us how to embrace the unknown, and guided us through the dark universe. The festival contained experiments with projections, sound generation and ‘expanded’ experiences to enhance the senses. sonicacts.com/2013 Download the programme brochures of the previous editions: 2020 - Sonic Acts Academy 2020 2019 - Hereafter 2018 - Sonic Acts Academy 2018 2017 - The Noise of Being 2016 - Sonic Acts Academy 2015 - The Geologic Imagination 2013 - The Dark Universe 2012 - Travelling Time 2010 - The Poetics of Space 2008 - The Cinematic Experience 2006 - The Anthology of Computer Art 2004 - Unsorted 2003 - Sonic Light 2001 - Point Pixel Programming 2000 - Sonic Acts 2000 1999 - Sonic Acts VI 1998 - Sonic Acts V 1997 - Sonic Acts IV 1996 - Sonic Acts III 1995 - Sonic Acts II 1994 - Sonic Acts I
Hugo Esquinca & Russell Haswell – Cadáver Exquisito Caleidoscópico En Cuatro Ejes
Cadáver Exquisito Caleidoscópico en Cuatro Ejes is a work by artists Hugo Esquinca and Russell Haswell and commissioned by Sonic Acts. It incorporates the game of ‘exquisite corpse’ – a technique of collective assembly in which they took turns contributing to the piece after receiving only a portion of what the other had previously contributed.