At the April School of Sound, James Spinney and Peter Middleton present the thinking and research behind their acclaimed film, Notes on Blindness. In addition to its arresting use of sound and image, the film delves into sometimes unnerving notions of human perception. [more]
Werner Cee is a German Sound Art composer, musician and creator of radio art. He has realized more than 30 large-scale Ars Acustica productions for major national broadcasting stations in Germany. Werner presents ‘I Used to be a Painter’.
‘The special character of my ars acustica can be traced back to my studies of painting, to my way of thinking in terms of images and painting techniques. This is what distinguishes my compositions from other, purely musically or narratively conceived works.’
Piers has had the pleasure and honour of giving the opening talk at all eleven previous Schools of Sound. He has the inimitable ability to set the tone for the four days, putting the audience in the mood to enter the rabbit hole that is the School of Sound. He will again be the opening speaker on Wednesday, 19 April.
He presents ‘Ghost Voices’, in which he considers the immediacy and power of the human voice and what it tells and doesn’t tell us. And what listening might tell us about looking.
Adam Roberts presents Chantal Akerman’s musicality.
Akerman, talking about the soundtrack for her 1976 film News From Home, said: ‘It was like a musical piece. We see one car – but the sound is not totally [in] synch… I put the sound more musically than realistically’. What does Akerman mean by ‘musically’? A search for clues in her films making mention of her contact with the contemporary music scene in Downtown New York in the early 1970s.
For the 12th edition, artists, practitioners, creatives, teachers and students will gather from around the world for four days of talks, presentations and discussions about the creative use of sound across media and the arts.
The programme includes
Walter Murch, film editor and sound designer
Annabelle Pangborn, composer, sound designer, educator
Mychael Danna, composer
Patsy Rodenburg, Master Voice and Shakespeare teacher
Sarah Turner, filmmaker and lecturer, director of Public House
Peter Middleton and James Spinney, directors of Notes on Blindness
Hans Peter Kuhn, sound artist and composer
Hildegard Westerkamp, sound artist, composer and acoustic ecologist
Werner Cee, sound artist, presents ‘I Used to be a Painter’
Adam Roberts, writer and filmmaker, presenting the work of Chantal Akerman
George Home-Cook, author of Theatre and Aural Attention: Stretching Ourselves
Julian Henriques, ‘Thinking Through Sound – and Learning from Jamaican Bass/ Base Culture’- reggae sound systems and the embodiment of sound
Stephen Deutsch, composer, author and sound designer
Gideon Koppel, filmmaker and artist, director of sleep furiously
Mark Underwood, sound designer
Honor Beddard, curator of Making Nature at the Wellcome Collection
and Piers Plowright, radio documentary and features producer.
Hans Peter Kuhn is a sound artist and composer working in Berlin and Amino (Kyoto, Japan). His light and sound installations are exhibited in many museums and galleries or on public sites worldwide, and the installation, Memory Loss by Robert Wilson and Hans Peter Kuhn, was awarded with the Golden Lion in Venice 1993. He has worked for the theatre with directors like Luc Bondy, Claus Peyman, Peter Zadek and Peter Stein and is best known for the music and sound environments he created in the long-term collaboration with Robert Wilson.
Kuhn gives an overview of his work, specifically since 2002 when he was last at the School of Sound. He will talk about the development of sound in that short period, both technological and in society.
22 – 24 April 2017
Whitechapel Gallery and Goldsmiths
The Sound of Memory Symposium explores creative works and ideas situated at the interface of composers working in acoustic ecologies and artists working within social ecologies, where the primary engagement is a form of sonic ethnography. The overarching thematic is an exploration of how individual and cultural memory resonates in the shaping of social space. The Symposium will explore the broad domain of acoustic ecologies and soundscape’s engagement in place. [Details of programme and instructions for submissions]
The BFI Shop will once again be running a bookstall at the School of Sound. They will stock a wide range of books and DVDs relating to the speakers and the wider areas of interest covered in the talks.
The evening before the School of Sound, you can see the documentary, Asunder, at the Regent Street Cinema, the first theatre in Britain to show moving pictures.
Asunder tells the story of what happened to an English town during the First World War, with almost all of its men fighting abroad and its women and children left behind. The North East was in the front line, thanks to its shipyards and munitions factories.
A film by Esther Johnson with a soundtrack composed by Sunderland’s Mercury-nominated Field Music and Newcastle’s Warm Digits, performed with the Royal Northern Sinfonia and The Cornshed Sisters. [details]
A free exhibition at Wellcome Collection
1 December 2016 – 21 May 2017
Kicking off a year-long exploration into our relationship with nature, this major exhibition examines what we think, feel and value about other species and the consequences this has for the world around us. It brings together over 100 fascinating objects from literature, film, taxidermy and photography to reveal the hierarchies in our view of the natural world and consider how these influence our actions, or inactions, towards the planet. [more]
Honor Beddard, curator of Making Nature, is one of the featured speakers at the School of Sound, taking part in the ‘What is Real?” session on Wednesday, 19 April.