# data[].attributes.body
Artistic research residency at Museo del Sonido + Centro NAVE, Santiago

# data[].attributes.attachment_link.description
Listening as writing, sonic fictioning, and rhetorical action – thinking relations between sound, voice, writing and language, and in what ways listening contributes to meaning-making.

# data[].attributes.attachment_link.title
Recompositions <br> Public Program | Liquid Architecture

# data[].attributes.attachment_link.description
Day 1 - Thursday 13 February 6pm to 8pm Recompositions Film Sections I am only Making a Report (2023) by Vaibhav Abnave George Paton…

# data[].attributes.headline
The place we do not know is the place we are looking for

# data[].attributes.subject
The place we do not know is the place we are looking for

# data[].attributes.attachment_link.description
West Space is the leading independent visual arts organisation in Melbourne’s inner-north.

# data[].attributes.headline
Artist Exercises | Re-sounding the Archive 

# data[].attributes.subject
Artist Exercises | Re-sounding the Archive 

# data[].attributes.attachment_link.description
Suvani Suri explores speculative listening as a method to work through sound documents in the archive.

# data[].attributes.attachment_link.readable_text
Lossless Transmissions: The Errant Earplugs (2023)
sound installation, earplugs in vitrine, three digital prints on canvas
17′ loop
Sound courtesy of the audio archives from the Linguistic Survey of India

Production Design: Merve Ertufan
Woodworking: Derek Shirley

Lossless Transmissions: The Errant Earplugs is part of an artistic inquiry that tunes into the audio archive of the Linguistic Survey of India (LSI), a mammoth colonial project to capture and record all languages and dialects of the subcontinent, spearheaded by Irish linguist George Grierson in early-twentieth-century South Asia. At the heart of this inquiry is a question: How can the act of listening invoke the inaudible traces in an archive?

Listening to the hisses, crackles, fuzz, and static of the aural records produces another resonant field that lends itself to an uncatalogued trail of stories and voices. Attending to uncanny sonics, hysterical-historical narrations get short-circuited across time and location-as is perhaps the case with the errant earplugs. This artifact, lost and found during a dig into the LSI archives, is presented as the core of a sound installation that asks visitors what they might (un)hear when approaching it, and what kind of listening it might demand.
[See performance details]

# data[].attributes.body
Synaesthetic Notations, Serendipity Arts Festival 2023

# data[].attributes.attachment_link.title
Modulating Realities: Networks of Sonic Thinking

# data[].attributes.attachment_link.description
This symposium foregrounds and critically examines the multiplicity of sites and forms of sonic practice and thought that emerge from contemporary conditions.

# data[].attributes.attachment_link.readable_text
If one were to tune into the resonant nooks and crannies, crackles and grooves, dust and silverfish, holes and leaks in physical and digital artefacts, what new forms of indexicality would they activate? How can speculative listening, fictioning, and short-circuiting be brought in as a set of orientating instruments to make one's way through the spatiality and duration of an archive? When points, nodes, and surfaces that don't usually touch, cross with one another-what new ways of knowing and reading can be mobilised?

With these questions as entry points, a two-day workshop focused on "corruption" as a methodological and conceptual device will guide participants to enter into and work through archival material. Led by Suvani Suri, and through a mode of collective inquiry, the workshop is an attempt to trace out and generate a range of articulations and possibilities around what it could mean to "listen" to an archive.

The participatory workshop will include intensive discussion, artistic interventions, readings, and a screening. Readings and other resources will be shared ahead of and during the workshop.

This workshop will be held on 1 Mar and 2 Mar 2024 from 2-5pm at the Asia Art Archive in India space in New Delhi. It is open to practitioners across disciplines exploring or currently working with archives. Only 12 participants will be selected due to limited seating. The workshop is free of charge, and refreshments will be provided.

Suvani Suri is an artist based in New Delhi. She works with sound, text, and intermedia assemblages that think through modes of listening and voicing. Her practice plumbs the gaps, cracks, absurdities, and excesses embedded within the technological processes of production, mediation, and perception of sound. This often takes the form of podcasts, objects, installations, mixtapes, workshops, curatorial propositions, publications, live and/or discursive sessions, and collective interventions. Additionally, Suvani composes sound for video and performance works, and has been teaching at several educational spaces where her pedagogical interests conflate with a sustained inquiry into the digital and sonic sensorium.

Suvani's works have been exhibited at Serendipity Arts Festival (2023), Kunsthalle Bern (2022), Five Million Incidents (2020), Khoj Curatorial Intensive South Asia (2019), Kochi-Muziris Biennale (2018), Mumbai Art Room (2018), and Sound Reasons Festival VI (2018). As part of a collective inquiry, she co-conceived the telephonic project, Out of Line (2019), which received the FICA Public Art Grant (2021). She was one of the curators for the Students Biennale at Kochi-Muziris Biennale in 2022, and is an artist and curator with the programme, Capture All: A Sonic Investigation, developed by Sarai (Delhi) and Liquid Architecture (Melbourne).

Banner Image: Images generated using OpenAI from Lantian Xie's prompt "silverfish metabolising the archive," in Eating The Archive: In Conversation With Anthony Leung Po Shan And Lantian XieThe AAA Learning & Participation Programme is generously supported by the S. H. Ho Foundation Limited.

# data[].attributes.attachment_link.title
Workshop | Suvani Suri | In the crackle, murmurs of a kind

# data[].attributes.attachment_link.description
An independent non-profit that documents the multiple recent histories of art in Asia, with a valuable collection about art available from its website and onsite library.

# data[].attributes.body
To know more and purchase, visit: https://store.press-works.info/product/the-search-for-hassainas-song-and-other-phonophanies-by-suvani-suri/

# data[].attributes.attachment_link.readable_text
This Foundation Project implemented by IFA under Explorations will examine the anatomy of the collective song We Shall Overcome, through aggregating data about its musicality, structure, popularity maps, analytics, and audience interactions such as YouTube comments, of its various iterations across time, geography, language and political context. Suvani Suri is the Coordinator for this project.

Suvani Suri is an artist and researcher currently based in Delhi, India. She works with sound and intermedia assemblages and has been exploring various modes of transmission such as podcasts, auditory texts, sonic environments, collective interventions, data compositions, sketches, experimental lectures and workshops. A graduate of the New Media Design programme (2014) from the National Institute of Design, Suvani's works have been exhibited at the 4th Kochi-Muziris Biennale (2018), Mumbai Art Room (2018), Sound Reasons Festival VI (2018) and Khoj Curatorial Intensive South Asia (2019). Given her experience she is best placed to be the Coordinator of this Foundation Project of IFA. Amarnath Praful, a visual artist and an Associate Faculty in the Photography Design Master's program at the National Institute of Design, Gandhinagar, will be her artistic collaborator in this project.

This project with the working title Anatomy of a Collective Song, will look at the digital presence of the song We Shall Overcome. While the song has its antecedents as a folk and gospel music, it later became a popular song for resistance, protest and solidarity. There are many translations of the song in various languages both in India and across the world. This song is deeply embedded in the collective consciousness of people across time, geography, political context and language. On a global video streaming platform like YouTube the song aggregates a huge corpus of data that comprises of its many audio and video renderings and iterations, different layout interfaces, statistics of viewership and affective materials such as likes and dislikes, subscriptions, and textual materials like comments.

This project will attempt to find an artistic medium to express this vast array of data produced around this song, including its musicality, structure, arrangement, popularity maps, audience interactions and numerical indices. While the process involves aggregation of all this data, the envisioned outcome of the intermedia work, may start to take shape only as the project progresses. It will also semantically unpack the phrases in the song. The project will delve into questions such as, "Who are we?", "What is to be overcome?" and "When is that someday?" The project wants to consider the collective pronoun "we" as a puzzle or problematic rather than an utopic universal imagination. Especially because, the dimensions of the term "we" keeps shifting, in the various political resurrections of the song. The diachronic nature of YouTube comments also becomes a timeline that marks the reappearances of the song in various political contexts.

The outcome of the project may be an intermedia work. The Project Coordinator's deliverables to IFA with the final report will be the process documentation and the intermedia work.

This project suitably addresses the framework of IFA's Arts Practice programme in the manner in which it attempts to explore the digital presence of a collective song, across its multiple iterations, that has had tremendous impact in various resistance movements, including in South Asia, up to very recent events of dissensus.

IFA will ensure that the implementation of this project happens in a timely manner and funds expended are accounted for. IFA will also review the progress of the project at midterm and document it through an Implementation Memorandum. After the project is finished and all deliverables are submitted, IFA will put together a Final Evaluation to share with Trustees.
This project is made possible with support from Sony Pictures Entertainment Fund.

# data[].attributes.attachment_link.title
Suvani Suri | India Foundation for the Arts

# data[].attributes.attachment_link.description
This Foundation Project implemented by IFA under Explorations will examine the anatomy of the collective song We Shall Overcome, through aggregating data about its musicality, structure, popularity maps, analytics, and audience interactions such as YouTube comments, of its various iterations across…

# data[].attributes.attachment_link.description
The third edition of the Norient City Sounds series is moored in Delhi, India, as it tunes in to a polyphony of voices, songs, sounds, and narratives that reimagine and unconceal the various worlds and characters constituting the capital's sonicities.

# data[].attributes.body
Contribution for Norient Books publication
Politics of Curatorship: Collective and Affective Interventions

# data[].attributes.headline
Falling through a Signal | —out-of-line— @ FICA

# data[].attributes.subject
Falling through a Signal | —out-of-line— @ FICA

# data[].attributes.attachment_link.provider_name
The Foundation for Indian Contemporary Art

# data[].attributes.attachment_link.title
ool falling through a signal - The Foundation for Indian Contemporary Art

# data[].attributes.attachment_link.description
The display tries to engage with practices and conversations that question the role of telecommunication networks at various interfaces of cultural, political, social and personal life-from the inability to 'connect' over a call to navigating the IVR-paths of a call on foot, from turning the cracks of a phone screen

# data[].attributes.headline
Students’ Biennale | In the Making | Curatorial Note

# data[].attributes.subject
Students’ Biennale | In the Making | Curatorial Note

# data[].attributes.headline
Sound Design and Compositional Experiments

# data[].attributes.subject
Sound Design and Compositional Experiments

# data[].attributes.headline
Sound and Music, Iqraarnaama dir. Priyanka Chhabra 

# data[].attributes.subject
Sound and Music, Iqraarnaama dir. Priyanka Chhabra 

# data[].attributes.attachment_link.title
Iqraar-naama (The Agreement) - Priyanka Chabra - FSA'22

# data[].attributes.headline
Entelechy or What the Octopus Potentially Unhears

# data[].attributes.subject
Entelechy or What the Octopus Potentially Unhears

# data[].attributes.body
https://www.library.ignota.org/sounds/suvani-suri

# data[].attributes.attachment_link.title
Entelechy or What the Octopus Potentially Unhears by bloop

# data[].attributes.attachment_link.description
A contemplation on biospheric homeostasis voiced in a speculative syntax. Drifting through excerpts from James Lovelock, Lynn Margulis, H.P. Lovecraft, Caspar Henderson, and the H.W. Thesis of Cosmic Biology, we stumble upon fictional fragments of singing Cephalopods and their autopoetic interventions.

Contribution for Ignota’s platform The Mountain to mark the launch the of the title Gaia And Philosophy by Lynn Margulis And Dorion Sagan, published by Ignota books, 2023
https://ignota.org/products/gaia-and-philosophy

# data[].attributes.headline
Sound Design, Amitesh Grover's The Last Poet

# data[].attributes.subject
Sound Design, Amitesh Grover's The Last Poet

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by Suvani (@suvanisuri)

# data[].attributes.attachment_link.description
An archaic word, one that had its moment and is now long-forgotten, 'momently'  contains a layered and complex sense of time, in each of its three slightly different meanings-
1. from moment to moment; continually
2. at any moment
3. for a moment; briefly

Extracts from T.S Elliot's reading of his poem Burnt Norton have been woven into samples from The Books' Take Time along with recorded and found sounds from our always, already connected everyday. A meditation on time, of the stories and of one's own.

# data[].attributes.attachment_link.readable_text
How can sound and listening be mobilised for understanding questions of power, capture, and extraction under networked capitalism and data colonialism?

Capture All is a multiyear collaboration between Liquid Architecture and Sarai, featuring artists, scholars, and writers based in India and Australia contributing to a series of critical intensives and dialogues, public programs and publications.

Capture All curator Laura McLean and artists, Suvani Suri, Thomas Smith, Aasma Tulika, and Shareeka Helaluddin talk through the works developed through Capture All in relation to cross-cultural exchange, scale, and technologies as well as reflecting on the shared experience and learnings that took place.

This project is contextualised by Sarai's pioneering work on media and information, urbanism, infrastructure, media archaeology, data and law, the commons, and the public domain in South Asia, and in Liquid Architecture's ongoing research projects, including 'Machine Listening', a constantly evolving platform investigating the effects of algorithmic, machinic, networked and technologised listening on our social and political lives.

Led by research curators Laura McLean (Liquid Architecture) and Mehak Sawhney (Sarai), Capture All considers Australia and India's complex relationships to coloniality and extraction across physical and digital spaces.

A Capture All digital collection has been published in Liquid Architecture's online journal Disclaimer featuring works from Tom Smith, Shareeka Helaluddin, Uzma Falak, Aasma Tulika, and Suvani Suri.

https://disclaimer.org.au/contents/capture-all

Produced by Mara Schwerdtfeger.

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture's weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia's leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

https://liquidarchitecture.org.au/

# data[].attributes.attachment_link.keywords[]
aasma tulika and shareeka helaluddin: capture all

# data[].attributes.attachment_link.title
‎Liquid Architecture: Laura McLean, Suvani Suri, Thomas Smith, Aasma Tulika and Shareeka Helaluddin: Capture All on Apple Podcasts

# data[].attributes.attachment_link.description
How can sound and listening be mobilised for understanding questions of power, capture, and extraction under networked capitalism and data colonialism? Capture All is a multiyear collaboration between Liquid Architecture and Sarai, featuring artists, scholars, and writers based in India and Austral...

# data[].attributes.attachment_link.title
The Rambles of Fatigued Listening in 5¼ Movements - Serendipity Arts

# data[].attributes.attachment_link.description
The Rambles of Fatigued Listening in 5¼ Movements AUTHOR Suvani Suri Movement 1: The Burrow of Unsound The air smells pungent and arid. Fatigue traverses and slowly fills up the site of what once was a burrow, now turned outside-in. Heavy and dazed eyelids gaze at the last remaining parts of the immaculately constructed stone [...]

# data[].attributes.body
https://www.wolke-verlag.de/musikbuecher/lehmann-palme-sounding-fragilities/

# data[].attributes.attachment_link.title
Irene Lehmann and Pia Palme (eds), Sounding Fragilities. An Anthology

# data[].attributes.attachment_link.description
Sounding Fragilities enacts a polyphony of writing on contemporary composition, music and performing arts in relation to music theatre. Co-edited by a theatre and performance scholar and by a composer and artistic researcher, this anthology considers its field of investigation through the lens of positionalities.

# data[].attributes.body
In ‘The Search for Hassaina’s Song and Other Phonophanies’, Suvani Suri delves into and détourns the audio archive of the Linguistic Survey of India, an ambitious colonial project led by Irish linguist George A Grierson in early twentieth century colonial South Asia. The work is an essay recalling the history of the Survey’s audio archive interwoven with a series of ‘micro-fictions’ — stories and voices she describes emerging ‘from the depths of the hisses, fuzz, and static’ of the recordings.

- Editors, Mehak Sawhney & Laura McLean

# data[].attributes.attachment_link.title
The Search for Hassaina's Song and Other Phonophanies on Disclaimer

# data[].attributes.attachment_link.description
Editor: Liang Luscombe Editorial Associate: Joel Stern Editorial Assistant: Casey Jones FB. TW. IG. YT. SC. MX. Subscribe, Contact, Submissions. Contribute sustainably to Liquid Architecture's publishing activities, via PATREON. Supported by naturestrip, Naomi Milgrom Foundation, Creative Partnerships Australia's Plus1, City of Melbourne, City of Yarra, and our community supporters.

# data[].attributes.body
Link

# data[].attributes.body
Wild City Workshop

# data[].attributes.attachment_link.title
Q’tine Feed: Curated by Suvani Suri (Week 1) - Global Music Institute

# data[].attributes.attachment_link.description
Weekly Round Up: 24 Apr 2020 One of the key elements of the Performance Programs at GMI are the interdisciplinary studies. The course on Music & Arts Studies led by Suvani Suri is aimed at situating music within a larger framework of artistic intellect, creation...

# data[].attributes.attachment_link.readable_text
Sound Reasons Festival VI | FINISSAGE | Live Performances | Walk-Through |
THU, 15 November 2018 | SYMPOSIUM
ReINSTALL | 3rd Session | New Works
Workshops | Presentations | Talks | 3.00 pm Onwards

More Details in the Following

Exhibit Open till Wed, 21 November, 2018

Sound Reasons Festival VI will be taking place on at the Korean Cultural center marked with new installations of Sound Art works, a featuring - a workshop by Lisa Hall and talks/ presentations by Cathy Lane, Ish S and S alomé Voegelin. We will also conduct directed listening sessions along other creative engagements to build on various listening perspectives in order to engage with sound art installed at the festival and this will be followed up by live performances and Artistic interventions. The time line for the day is in the following

3.00 pm Listening for instruction by Lisa Hall | Workshop |
4.00 pm Talk and Presentation | Lisa Hall |
4.30 pm Salomé Voegelin | Talk & Presentation |
5.15 pm Cathy Lane | Presentation & Talk |
6.00 pm Multi channel directed Listening sessions | Sound Reasons Presentation |
7.00 pm Live Performances | Shun Owada, da Saz, Cathy Lane & diFfuSed beats |

for the worksh op is required. Pls email ish(at)soundreasons.in or lisa_hall_(at)hotmail.co.uk

For the second and the third 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 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 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.

Fri, 26 October | 6.30 pm onwards
ReINSTALL | Second Session | New Works
Live performances | Installations | Talks | Presentations |
Korean Cultural Center | New Delhi

Mon, 22 - 24 Oct | 6.30 pm onwards
Walk Throughs | Immersive Listening Sessions | Talks |
Korean Cultural Center | New Delhi

The Second Session - ReINSTALL of the Sound Reasons Festival VI will be taking place on the Fri, 26 Oct at the Korean Cultural center marked with new installations of Sound Art works, along with live performances and Installations. We will also conduct some immersive and directed listening sessions along with walk throughs and talks from Mon, 21 Oct - 24 Oct. More dates to be announced soon.

Sound Reasons Festival VI | ReINSTALL - 2nd Session | New Works | Live Performances | from Sound Reasons on Vimeo.

Over the next few weeks more sound works will be added as installations and we will making some presentations, live performances and directed listening sessions at the Korean Cultural Center.

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

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

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

Friday, 26 October 2018 | 5 pm onwards
ReINSTALL | Second Session
Live performances | Installations | Workshops |
Korean Cultural Center | New Delhi

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.

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
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.

Working with artists, scientists, astronomers and engineers in Indonesia, Venzha Christestablished 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. WithISSS - 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.

The 8 Channel Audio Room | 4 Sound works installed in One multi-channel Room as an installation |

" We are concerned here not so much with the almost natural phenomenon of identifying an enemy who is threatening us, but with the process of creating and demonizing the enemy" - Umberto Eco

Sound and language are powerful tools in the construction of imagined conflict scenarios and their aftermaths. 'Preparations for an Imaginary Conflict' was commissioned for Staging Disorder, an exhibition addressing the relationship between photography, sound art and modern conflict. The work uses UK public information media recordings, oral history, archival news, texts and specific geographical areas to examine the warlike rhetoric used by several generations of politicians to prepare the population to a possible attack or to construct the idea of a hostile "other" in a large number of real or imaginary situations.

Listening for Instruction is a survey of how sounds are used as signifiers in public spaces in the UK, focusing on London as the case study. Collecting beeps, hisses, tones and automated voices, this work looks at how human workers are replaced by recorded sound, how sound is used to direct our behaviour, and how the voice is positioned within that. Probing current debates around the potential changes automation brings to working lives this study advocates for an automated future, supporting the anti-work movement's call for 'the right to the idle' - the artists commit their own voices into a hybrid synthetic persona in support of this.

Virtual Voices is one third of the survey to date, made in conjunction with audio work Journey and zine Dictionary of Beeps.

Lasta/Nigalana was originally composed for a 20-channel, ambisonic loudspeaker array in a dodecahedron. The piece, which had its premiere in 2008 in Dubrovnik/Croatia, has now been reworked for the 2018 SoundReasons Festival and adapted to a conventional ambisonics system. Lasta/Nigalana is based on the observation of countless numbers of swallows, which in summer fly over the city of Dubrovnik in large flocks, providing a special spatial-acoustic spectacle.

The Lasta/Nigalana piece selects as its model the cries made by the swallows as they move extremely dynamically in the air, and sets them into a sound image intended to musically reproduce the impression of shady and cool alleys within the thick, medieval walls of the city and the light reflections of the sea.

There is always a stepping into our works and exploring spatial perception by opening up the listening perspectives by moving the sonic material generated into space. Most of the source material for this work was generated live though improvised processes, these include both synthesis and other live sampling techniques. In reflection one must plunge into this sonic world instead of surveying it and in the words of Merleau-Ponty " it (the reflection) must descend towards it as it is - instead of working its way back up towards a prior possibility of thinking it ...."

The project is one of a series of sonic experiments that probe into the nesting of the uncanny, within the everyday. A round of acoustic interpenetrations home in on the ambiguous zones between the inside and outside, the familiar and the unfamiliar in a bid to tease apart occurrences of the uncanny leak(s) in-between. Floating between the listening zones, one is looped into an endless feedback, a continuously mutating reflection borne of peculiar sounds intruding into spaces that have been held separate so far suggesting that at the very point of closure, there is an opening.

The flight of stairs that only goes up and down evokes the seduction of the strange and becomes the site of the uncanny encounter with that which is familiar and yet not. The useless staircase alludes to the Muy? kaidan, also know as a pure staircase, a Thomasson relics discovered by the Japanese artist Genpei.

The intervention serendipitously takes on the form of a conversation with the instrumentarium generated by the radiowaves in Venzha's work 'Evolution of the Unknown'. As the sonic realms of the works criss-cross into each other, speculations of the acousmatic uncanny that dwell in each of the inquiries, abound.

The video works of Dipali Gupta attempt to denaturalize the social construct of topics such as immorality, indulgence, domesticity, and the male gaze. They expand upon sounds, movements and imagery of pleasure objects. The still life videos challenge the conventional perception of still life paintings through sonification and moving imagery. The Bedroom video is a representation of everyday spaces stereotypically occupied by women that become private domains of female subjectivity.

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, and this time-space 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. (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 perceptions of the installation and the sounds.

# data[].attributes.attachment_link.title
Sound Reasons | Festival | records | Productions | Sound Art | Installations | Performances |

# data[].attributes.attachment_link.description
Sound Reasons Festival VI | FINISSAGE | Live Performances | Walk-Through | THU, 15 November 2018 | SYMPOSIUM ReINSTALL | 3rd Session | New Works Workshops | Presentations | Talks | 3.00 pm Onwards More Details in the Following Exhibit Open till Wed, 21 November, 2018 Sound Reasons Festival VI will be taking place on at the Korean Cultural center marked with new installations of Sound Art works, a featuring - a workshop by Lisa Hall and talks/ presentations by Cathy Lane, Ish S and S alomé Voegelin.

# data[].attributes.headline
heair, an ambient generative composition from live air quality levels in Delhi 

# data[].attributes.subject
heair, an ambient generative composition from live air quality levels in Delhi 

# data[].attributes.attachment_link.description
A live audio set composed of the ambient air quality data that is being captured in and around Delhi (November 2017). Through the course of the day, as the values of the pollutants rise and fall, they generate a set of textures and tones, ceaselessly playing on, every moment much like the ringing of alarm bells.

# data[].attributes.attachment_link.readable_text
The artist, once a Bohemian figure is now seen in the midst of gatherings, an economy that upholds the artist as a representative of his/her art. To take a break and disconnect from society for short periods, professes a modus operandi amongst individuals within busy organizations. Sleep is the only refuge from these regular patterns. The body transforms from the sleep mode into the dream mode through these hibernations; akin to this are machines that are put to sleep or rested after long hours of activity. The bodies are consumed, disengaged, yet don't entirely break away from methodical operations. Machines are but an extension of the human body that is exercised in the absence of physical human activity. Like the human body the machine perhaps feels, it is put to sleep, and also dreams. Sleep and dream become inevitable to the working systems, both biological and mechanical.

"If sleeping is a political act within a neoliberal society, then so is dreaming." Within this conceptual framework, John Xaviers, an artist, academic and curator recently opened his show at the Mumbai Art Room, titled ap ple in dream mode. An apple holds an emotional history, evokes mythological instances, folk tales and fairy tales that have been narrated over and over, orally and textually, to create deep associations with the fruit, he explains. Incidentally, to have the idea of the fruit now used interchangeably with technological appliances: Apple Systems extends the narrative into the digital realm, to speak of urban histories superimposed over cultural mythologies. From the past through to the future, from a sentient life form to a mechanically conscious digital extension, the apple maintains a collective cultural memory.

Dream divination was a common practice amongst the Greeks, where compilations of metaphoric nocturnal visions were used to evaluate values of the individual. Prophecies and predictions were discerned in accordance to the visuals one remembered with dream and imagination becoming regular conductors of the everyday. Oneirology and oneirocriticism, two branches of the study of dream interpretation, began to take form, simultaneously in many cultures across history. Dreams became a means to experience otherworldly sensations and hear voices of the subconscious. Today, the idea of machines 'dreaming' has made significant progress with Google's Artificial Intelligence creating and generating layered dreamscapes out of images shown to an artificial neural network. This process called 'Inceptionism' mechanically conceives pictures from identifying patterns in white noise, establishing the notion of a consciousness within these machines. The temporal is associated with the perpetual in moments of dreaming; the body and the universe find parallel modes of existence.

Experiencing the psychological through technological art interventions, somewhere defines new-age art. John, exploring multi-dimensionality and balancing them within regular spaces brings together four artists Mochu, Suvani Suri, Gagan Singh and Sonam Chaturvedi to elaborate on this experience. For John, nth dimensions of computing became a significant facet to hold on to, eventually conceiving the rest of the exhibition.

Mochu, coming from an academic background- through art, animation and film-making techniques, brings to focus philosophical questions of the digital in juxtaposition to the cultural. His digital video Cool Memories of Remote Gods uses historical instances to trace the journey of hippies in 1960 India and their relationship to the emergence of a digital economy. Using psychadelia, techno-fiction, lens distortions and special effects, he intellectually explores 'cybernetic cultures and spiritual regimens' through this video. Retention and protention (anticipating future events) become regular interventions within this framework.

Within four-dimensional capacities of videos, sound realizes a contrasting purpose. Suvani Suri's sound installation Prelude to a Puncture in Listening is an aural experiment with the pouring of binaural sounds from a 'sound shower' -a sound bouncing device hanging from the ceiling- onto the 'disoriented listener' seated below. Intermingling a pre-produced audio loop with live sound feed, the 'aural dreamscapes' affects the listener in its various aspects. Her time-based works explore ASMR (Autonomous Sensory Meridian Response) induced activities, through hypnagogic conditions, sleep and the oneiric state of consciousness.

Gagan Singh's humorous site-specific drawings stimulate one to think about drawing as a speculative tool that creates meaning and dimensions within its otherwise 2D surfaces. Through simple experiments, he poses philosophical questions about the possibilities and avenues line drawings can open, when presented through the various mediums. His Hand Cut Out, demonstrates paper-cutouts that throw successive shadows so as to manifest further beyond itself in the form of meta-drawings; How to Climb the Stairs, a satirical take on YouTube tutorials, combines drawing and video to further play with lines.

Sonam Chaturvedi's immersive interaction is augmented through her sleep experiment Esclapse (a neological term), which involves the artist and spectator in a participatory event. The spectator as a participant receives an automated call during the night, with a voice on the line reciting a poetic text in order to insert spoken visuals into the subconscious of the sleeping individual. The text floats in the sleep state, the near-dream state and subliminally affects the mind, and continues to remain afloat in the conscious memory upon wakefulness.
Another work titled, Time, Memory, Incoherent is an expansive display of a personal collection of natural and man-made items that articulates the perpetual somnolence of inanimate objects: functioning as an intangible repository of memories and experiences. The inanimate, yet sentient objects appearing to be in sleep mode, are awakened by the acknowledging energy of the unintending viewer.
Apple in Dream Mode continues till 24th Aug 2018, at the Mumbai Art Room. All images used with permission.

# data[].attributes.attachment_link.description
The artist, once a Bohemian figure is now seen in the midst of gatherings, an economy that upholds the artist as a representative of his/her art. To take a break and disconnect from society for short periods, professes a modus operandi amongst individuals within busy organizations.

# data[].attributes.headline
Prelude to a Puncture in Listening (series)

# data[].attributes.subject
Prelude to a Puncture in Listening (series)

# data[].attributes.attachment_link.description
Produced by sampling hypnagogic pop sounds of the early 2000s. An acoustic mosaic– a tessellation of oneiric patterns woven into sonic textures, durational tricks and auditory illusions. The echoes of the waking life make their way into the lucid (ludic) sonorous kernel of the dreamscape.

# data[].attributes.body
Suvani is an artist and researcher currently based in Delhi, India. She works with sound, text and intermedia assemblages and has been exploring various modes of transmission such as podcasts, auditory texts, sonic environments, maps, objects, installations, workshops and live interventions. Actively engaged in thinking through the techno-political processes that listening is embedded in, her curiosity about the spectral qualities of sound lends itself to uncanny acoustic constructions and arrangements. She is drawn towards generating chronicles of absurd sonic instances while recomposing the concepts, histories, fictions, myths, sensations and intensities that the aural carries and reveals. Alongside, she composes sound for video and performance works and teaches at several universities and educational spaces where her pedagogical interests conflate with a sustained inquiry into the digital and sonic sensorium.

For a more detailed and updated glimpse of the goings on, you can visit here or email at suvani.suri@gmail.com.

# data[].attributes.attachment_link.title
Ricochet - Ambient Radio Remix by Suvani Suri by Ambient Radio

# data[].attributes.attachment_link.description
Ricochet is a remix created by sound artist Suvani Suri on the base of the field recordings collected by the Ambient Radio Community.
Suvani writes about the track:
"Returning to the theme of moods and moodscapes that framed the third week of Ambient Radio Season 2, this mix drifts through the library of field recordings, brewing them into a sketch that ricochets between the many surfaces, spaces and states of sound and sounding. Moods as zones of constant transition infuse the air, produce atmospheres, syncopate with each other and are composed of tones and resonances. They are intimate and personal, fleeting and often inexplicable, but also contagious, inescapable, vast and thick, capturing the essence of milieus and ricocheting off each other in their tendency to diffuse and transmit. It is some of these ideas and reflections that I am floating through as I stitch this palimpsest of sonic fragments gathered by the participants."

# data[].attributes.body
A Splitting/ On mining the ear for the nearly-but-not-quite-there

One of the items of the sonic catalog is entered into and expanded upon in the second incident performed as part of the project ‘On mining the ear for the nearly-but-not-quite-there. The narration teases apart the unit of the scream into its many constituent frequencies diffracting across timespans, media genealogies and affective arrangements via a set of notes, screens, readings, speculations and connections-in-the-making.

Desktop video/ lecture-performance

# data[].attributes.attachment_link.authors[].name
Goethe-Institut / Max Mueller Bhavan New Delhi

# data[].attributes.attachment_link.title
A Splitting/ On mining the ear for the nearly-but-not-quite-there

# data[].attributes.body
- sample, swallow, speak, repeat -

A disassembly of a wide terrain of curious sonic instances, histories and artefacts, chronicled and threaded through a fictional premise.

Sonic investigations/ Micro fictions/ Audio lecture-performance/ Aural Histories/ Sound Collage/ Uncanny Listening

Watch / Listen here
How to 'sample, swallow, speak, repeat' : Link to Guide

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by abr (@abr_circle)

# data[].attributes.body
Link to series

# data[].attributes.body
About the Workshop

# data[].attributes.body
-ool- began in August 2019, as a self initiated group exhibition of sound works transmitted over the telephone line using automated calling systems.

# data[].attributes.attachment_link.description
16 likes, 0 comments - oflineout on June 26, 2019

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by —out-of-line— (@oflineout)

# data[].attributes.body
Conversations/ composition/ sampled thoughts/ sound collage/ playlist/ mixtape

About the Episode
Listen here

# data[].attributes.attachment_link.readable_text
Download Transcript Here: https://norient.com/media/6409

"The composition of a virus...how a certain group ends up creating the original illustration which is being used all across the world, as the most authentic representation of what is the composition of a virus and what it looks like. If we don't have this image, what image would we have? If we didn't know what a bacteria or a fungus or a molecule or a virus looked like, it would be mysterious and it would...the only thing we would see is people dying, people falling sick - but we would have absolutely no image...all we would see is symptoms."
Gagan Singh

released March 12, 2020
Featuring: Mochu, Pallavi Paul, Gagan Singh, Suhail Yusuf Khan

Conceptualisation, Interviews: Abhishek Mathur, Suvani Suri
Arrangement, Editing, Sound Design: Abhishek Mathur, Suvani Suri
Additional Mixing: Gaurav Chintamani, Quarter Note Studios
Additional Samples, Recordings: Suhail, Mochu, Pallavi
Trailer Voiceover: Nana Akosua Hanson
Mastering: Adi Flück, Centraldubs
Graphics Cover: Šejma Fere

Abhishek Mathur

Abhishek Mathur is a music composer and producer based out of Delhi, India. He has provided music for Documentaries, Films, TV Shows, Art Installations, Theatre and Ad Films for clients such as National Geographic, NDTV, WWF, ITC, and Deepa Mehta Productions amongst others. He has been a part of many successful bands on the Delhi music scene, most prominently as the guitar player and founding member of the contemporary fusion band Advaita. More recently he has launched his solo synth pop project titled Plan 17 where he dabbles with analog synthesisers, drum machines and samplers. Abhishek is also an educator and is the facilitator and course designer of a short term program in music production at the Sri Aurobindo Centre for Arts and Communications, New Delhi.

linktr.ee/Plan17

Suvani Suri

Suvani Suri is an artist and researcher based in New Delhi, India. Her interests and inter-media experiments have been tethered to the field of sound and listening, encountering and speculating its multi-fold possibilities. She has been a component of several trans-disciplinary practices, alternating between the roles of an artist, assembler, designer, researcher and educator. In recent years, her work has been exhibited at KHOJ Studios, Mumbai Art Room, Soundreasons Festival and the Kochi Muziris Biennale 2018. She currently teaches at the Master's programme in New Media Design at National Institute of Design, India and has been conducting courses in digital sensoriums and interdisciplinary creative practices in several other universities and educational spaces.

www.suvanisuri.com

Mochu

Mochu works with video and text arranged as installations, lectures and publications. Techno-scientific fictions feature prominently in his practice, often overlapping with instances or figures drawn from art history and philosophy. Recent projects have explored mad geologies, psychedelic subcultures and Indian Modernist painting. Exhibitions include 9th Asia-Pacific Triennial, Sharjah Biennial 13, 4th Kochi-Muziris Biennale, Kiran Nadar Museum of Art and Transmediale BWPWAP.

themochu.com

Suhail Yusuf Khan

Suhail Yusuf Khan is a Sarangi player, vocalist, composer, and a PhD candidate in the department of music at Wesleyan University. He brings together expertise from a performance career that has already extended over twenty-years, creative ability, and academic research to find new modes of expression in Hindustani music, contemporary rock fusion, pop, folk, jazz, and experimental music. His ethnographic scholarship draws on personal experience as an eighth-generation musician belonging to a lineage of Hindustani musicians. He has been featured on more than fifteen albums and is currently signed to Domino records, U.K.

www.khamira.net/suhail-yusuf-khan

Pallavi Paul

Pallavi Paul works with video, performance, and installation. Her practice speaks to poetic exploration of cultural histories, questioning the limits of speculation and facticity and evidence. Paul is also engaged in thinking about ideas of the archive, tensions between document and documentary and the implication of trace within these openings. She has received her PhD in Film Studies from the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. Paul's work has been exhibited in venues including Tate Modern, London (2013); AV Festival, New Castle (2018, 2016), Beirut Art Centre, Lebanon (2018), Savvy Contemporary (2019), Contour Biennale, Mechelen (2017), New Alphabet School, HKW (2020). She currently lives and works in New Delhi.

project88.in/selected-work/82

Gagan Singh

Gagan Singh is a Delhi-based visual artist, whose experiments with drawing have involved engaging with illustration, cartoons, storytelling, memory mapping, site specific installations, wall art and artist books. Gagan brings an element of flaneury to his work, both in the literal sense of walking through the city, but also via the mental act of constructing visual narratives in landscapes drawn from memory and observation.

chatterjeeandlal.com/artists/gagan-singh/

TIMEZONES - A PODCAST SERIES

The TIMEZONES podcast series plunges into the world of artists and their practices, asking: What does living and working in culture and the arts involve in different countries, cities and contexts today? The artists' thoughts on their moods, their social, political and intellectual realities and their philosophies (of life) have been worked up into experimental audio collages.

The podcasts run the gamut of formats and content, from straight journalism to experimental and documentary approaches, ethnography and fiction, sound art and improvisation. The TIMEZONES series endeavours to create new artistic forms of storytelling, listening and exchange across the boundaries of geography, time zones, genres and practices.

The TIMEZONES Podcast Series is co-initiated and co-produced by Norient and the Goethe Institute.

All Episodes: norient.com/timezones

# data[].attributes.attachment_link.title
TIMEZONES - Imagining Worlds and Making Meaning with four Artists from Delhi, by Suvani Suri and Abhishek Mathur

# data[].attributes.attachment_link.description
TIMEZONES - Imagining Worlds and Making Meaning with four Artists from Delhi by Suvani Suri and Abhishek Mathur, released 12 March 2020 Download Transcript Here: https://norient.com/media/6409 "The composition of a virus...how a certain group ends up creating the original illustration which is being used all across the world, as the most authentic representation of what is the composition of a virus and what it looks like.

# data[].attributes.body
A sonic catalogue of instances, objects, artefacts and excavations of an inaudible kind. Structures, arrangements, phenomena and utterances inhabiting fictional histories and the dissonant present have been selected, re-arranged, enumerated and vocalised to bring the inaudible into the folds of the thinkable.

# data[].attributes.attachment_link.title
An Index/ On mining the ear for the nearly-but-not-quite-there by bloop

# data[].attributes.attachment_link.description
A sonic catalogue of instances, objects, artefacts and excavations of an inaudible kind. Structures, arrangements, phenomena and utterances inhabiting fictional histories and the dissonant present have been selected, re-arranged, enumerated and vocalised to bring the inaudible into the folds of the thinkable.

Part of the project ‘On mining the ear for the nearly-but-not-quite-there’ that takes on concerns around the various modalities, registers and politics of frequency frequently associated with disquiet, the weird and the eerie. Through a series of sonic happenings, the proposition examines the limits of audition, sense and sensibility through a movement from the perceptible processes of hearing towards an ‘uncanny listening’.

The project is realised within the framework of Five Million Incidents 2019-2020 conceived by Goethe-Institut / Max Mueller Bhavan in collaboration with Raqs Media Collective.

--
Five Million Incidents-
http://fmi-digital.github.io

Project page/ On Mining the ear for the nearly-but-not-quite-there
https://www.goethe.de/ins/in/en/ver.cfm?fuseaction=events.detail&event_id=22025932

--
Source List:
https://www.notion.so/Source-List-5e86ed2d06134486ae6b0e018a9ca0f7

# data[].attributes.body
https://disclaimer.org.au/contents/ellipses-br-returning-to-time-knots-br-and-techno-utopias/suvani

# data[].attributes.attachment_link.title
Towards an Uncanny Listening: Notes on The Sound Sweep on Disclaimer

# data[].attributes.attachment_link.description
Editor-at-Large: Liang Luscombe Editorial Associate: Joel Stern FB. TW. IG. YT. SC. MX. Subscribe, Contact, Submissions. Contribute sustainably to Liquid Architecture's publishing activities, via PATREON. Supported by naturestrip, Naomi Milgrom Foundation, Creative Partnerships Australia's Plus1, City of Melbourne, City of Yarra, and our community supporters.