Anthony Charles Lynton Blair by Kraus

The Auricle Sonic Arts Gallery
Showing: Friday 12th, 19th May, 11am-4pm
Saturday 13th, 20th May, 1-4pm
Opening: Thursday 11th May, 5:30pm
Facebook event

 

Anthony Charles Lynton Blair by Kraus

Anthony Charles Lynton Blair (born 6 May 1953) was a British serial killer who murdered an unknown number of victims between 2003-2007. Many of his victims were subject to dismemberment, torture and rape. An Oxford graduate and successful lawyer, Blair was regarded by many as handsome, charismatic, and intelligent, traits that left his victims with little chance to overcome him. He was
found sane and guilty at his trial and executed on 20 March 2023.

Blair was an unusually organized and calculating criminal who used his extensive legal and political connections to avoid capture for years. He was skilled at minimizing physical evidence – his fingerprints were never foundat a crime scene, a fact he repeated often during his trial.

After Blair’s death was confirmed at 12:58 a.m. on March 20, 2023, his brain was removed. It is in the possession of Dr. Helen Morrison, a witness for the defense at Blair’s trial, who interviewed Blair and other serial killers in an attempt to isolate common personality traits of violent sociopaths.

Blair’s metallic grey 2002 Vauxhall Omega is presently on exhibit at the The Museum of Modern Crime.

A study published in The Lancet in 2006 estimated the number of Blair’s victims at 654,965. The true victim count remains unknown, and could be much higher.

This sound work for four-channels was featured in the Discovery Channel documentaries “The New Detectives: Case Studies in Epidemiology” and “Most Evil: Blair”. It is in seven parts:

1. Fuck You
2. I Kill You Tony Blair
3. The Courage of Our Convictions
4. Murder
5. A Journey (Into the Mind of a Serial Killer)
6. I Fucking Kill You Tony Blair
7. Watch Out

The Antarctic Convergence

The Auricle Sonic Arts Gallery
Showing: Friday 7, 14, 21 April, 11am-4pm
Saturday 8, 15, 22 April, 1-4pm
Opening: 6th April, 5:30pm
Facebook event

 

The Antarctic Convergence

The Antarctic Convergence is a group exhibition of sound works recorded in Antarctica, curated by noted Melbourne artist Philip Samartzis. Samartzis has visited the Australian Antarctic and sub-Antarctic islands twice, and is well-known for his work with multi-channel field recordings.

The show features a range of compositions by half a dozen international artists responding to the unique physical, spatial and natural attributes of the Antarctic continent and its surrounding ocean. While Antarctica can be deafening in its silence, it is also a place of unusual sonic encounters generated by variable weather, diverse wildlife, and the sound of human enterprise.

The Antarctic Convergence demonstrates the diversity of experience one can have across the continent through artworks generated by first hand encounters with the frozen continent. In addition works have been composed through the translation of scientific data measuring atmospheric or oceanic conditions and variations. The Antarctic Convergence seeks to advance our understanding of the South Pole, and to explore how sound art can be used in the interrogation of one of the most isolated, hazardous, and environmentally diverse continents on earth.

Featured artists include: Phil Dadson (NZ), Werner Dafeldecker (Ger), Lawrence English (Aus), Robin Fox (Aus), Doug Quin (USA), Philip Samartzis (Aus), and Chris Watson (UK).

Mixtape by CSSA

The Auricle Sonic Arts Gallery
Thursday 2nd March
5:30 pm
Facebook event

 

The ‘mixtape’ is a familiar idea: a compilation of pre-existing recordings that expresses the taste and identity of the compiler, and which often is intended as a gift to a particular recipient. Compiling a mixtape is a creative act analogous to that performed by a DJ or, indeed, any art curator. It involves all manner of practical and aesthetic decisions in selection and sequencing of material, and in the way this is presented. Making a mixtape is like constructing an art museum group show in miniature – one, however, that takes place in a non-institutional and amateur setting. ‘Mixtape’ at the Auricle seeks to bridge personal and public spheres in the form of a gift from its contributing artists to any receptive ears.

Reuben Derrick
Alex Donnithorne
IRD
David Khan
Greg Malcolm
Tony Miles
Bruce Russell
Stanier Black-Five
Adam Willetts

Sonic Poem by Paul Timings

The Auricle Sonic Arts Gallery
Thursday 2nd Feburary
5:30 pm
Facebook event

 

Sonic Poem is an interactive sound installation that transposes Malaysian sound artist Kok Siew-Wai’s improvisational vocal techniques onto the phonological properties of the alphabet. These properties are then engaged with through the written expressions of the participant via a 140-character audiovisual interface.

Paul Timings is a New Zealand artist who develops installations and recordings via algorithmically generated soundscapes, using source material primarily derived from field recordings.

 

Displacement by Exile

The Auricle Sonic Arts Gallery
Showing: 3rd-24th November, 2016
Opening: 3rd November, 6pm
Facebook event
Sound installation

 

Displacement

When do we become conscious / aware of our displacement in this world? Is it a startling realization, or rather a deeply engrained knowledge within us us all?

Exile is an avant-garde collective based in Banks Peninsula.

Ecologies of Transduction by Charlotte Parallel

The Auricle Sonic Arts Gallery
Showing: 6th-27th October, 2016
Opening: 6th October, 6-8pm
Facebook event
Interactive sound installation

 

On ecologies of transduction

Looking back, you could say it all started from growing up in the middle of nowhere listening to power poles. Putting my ear up to the wooden pole I was compelled by its voices and the accompanying hum. Thirty years later I am still engaged in the practice of listening as a form of attunement to any given place.

The process of mapping, sensing, detection and transformation are a kind of aural forensics. My ongoing interest in participatory sound works is a means of directing attention to the active forces of a place; in particular, the ways in which we exist in a continuum of and specific concentration within the electromagnetic field through our capacity as a transducer.

Transduction is defined as the transformation of one energy state to another. As a process transduction occurs in everything from our human ear to plants to viruses to our cellphone, articulating a field of relations between one thing and another. Adrian Mackenzie describes this field of relations as a “knotting together of commodities, signs, diagrams, stories, practices, concepts, human and non-human bodies, images and places.”[1]

The activation of sound, linked to a cartographic object has the potential to relay the intersecting and often unseen operations of geo-political, economic, ecological and social infrastructures. The corresponding implications are considered ecologies of transduction.

[1] Adrian Mackenzie, “Theory, Event, Transduction,” 2015. www.lancaster.ac.uk/staff/mackenza/papers/transduction.pdf

Charlotte Parallel is a recent MFA graduate at Otago School of Art and a practicing artist in the fields of sculpture, sound installation, collaboration and performance. Often choosing to respond to site in a temporal way. She has been exhibiting within New Zealand consistently over the last 13 years and internationally since 2010.

Since 2003 Dunedin has been the home base for Charlotte Parallel’s artistic activity which includes a range of curatorial and community initiated collaborative art projects. From 2010 specifically with The Anteroom, a project art space based in Port Chalmers. The Anteroom is an artist run space committed to representing experimental projects with a national and international network of exhibiting artists.

Image courtesy Gilbert May

Jetzt by John Chrisstoffels

The Auricle Sonic Arts Gallery
Showing: 1st – 24th September, 2016
Opening: 1st September, 6-8pm
Facebook event
Interactive sound installation

 

Jetzt, a German word that means ‘now’ but it sounds and looks a bit like ‘jets’.

‘Now’ or ‘jetzt’ might suggest the ever present moment and for some Germans (perhaps a Hegel or a Heidegger) they might suggest that we pause to think a little deeper about ‘being in time’. Let us imagine that ‘now’ is indeed a ‘jet’. We are passengers seated on a long journey, perhaps the dream destination of our lives. We put our feet up and rest in the knowledge that our safe flight has been measured and calibrated with pinpoint accuracy and we will arrive at our destination on ‘time’. This gives us peace of mind to relax. However, when we think about that something about ‘free will’ appears to gnaw at us inside as we realise we are trapped in a pressurised cabin at 20 000 feet (or a planet hurtling around the sun).

Closing our eyes, we tune into the sounds around us. We hear the hum of the jet engines, and perhaps we catch part of a conversation in a foreign language. There is always the ubiquitous disembodied cry of a baby and importantly the white noise of oxygen pumped around the fuselage. Concentrate hard on the rush of air. We hear it go in and out of phase. Imagine a strange Doppler effect as the sound travelling in the fuselage effected by any number of relative speeds. Yes the speed of sound can be measured but there is at this moment a symphony of infinite possibilities in this moment of being.

John Chrisstoffels has been involved in music and cinematography for over 30 years and presently is a Senior Lecturer in Film at the Canterbury University School of Fine Arts. His research into ‘transient places’ such as Aircraft Fuselages and Airport Terminals are central to his current DocFA thesis.

On the Constant Dissolution of the Same by Malcolm Riddoch

The Auricle Sonic Arts Gallery
Showing: 4th-25th August, 2016
Opening: Thursday 4th August, 6-8pm
Facebook event
Live audio recording cycling into electroacoustic decay

 

“Only those who already understand can hearken [zuhören]”
Martin Heidegger, Being and Time

On entering this world there is contact as sound objects impact one’s sense organs of hearing, the ear but also the body. On contact there arises the familiar sensation of hearing  the sounds in this world. With the constant arising of sensation there arises feeling, belonging and understanding. With the arising of understanding, one has already entered into this world of the familiar sounds themselves, the world of our everyday being, and so the cycle of becoming continues without beginning. And yet having always already entered this world, there was already contact of sound objects with the sense organs of hearing, and with this fading contact there is the constant fading away of the sensation of hearing. With the fading away of sensation there is also the constant fading away of feeling, belonging and understanding. With the constant dissolution of understanding, one has already entered into this everyday world of the familiar sounds themselves, and so the cycle of becoming is constantly dissolving into the same.

Dr Malcolm Riddoch’s sonic arts practice melds experimental electroacoustic techniques and phenomenological method in an investigation of acousmatic listening and the electronic transformation of soundscapes; notions of indeterminacy in composition for installation and performance; the use of whole acoustic spaces in sound art installation and music performance; and electroacoustic feedback as an embodied, intentional, temporalizing process. His medium is non-tonal, timbrally focused and technologically organised sound, where thematic dissolution is his sonic theme.
http://malcolmriddoch.com

You might come out of the water every time singing – by Kaffe Matthews

The Auricle Sonic Arts Gallery
Showing: 7-30 April, 2016
Opening: Thursday 7th April, 6-8pm
Facebook event


‘Sharks are older than dinosaurs. They’ve evolved with the planet developing extraordinary perceptive mechanisms learning to navigate in straight lines at depths as great as 400m by tracing the shifts in the earth’s magnetic crust. They are still considered just to be extremely aggressive and are slaughtered in vast numbers for their fins to make soup. A shark in fact has to be one of the most sophisticated of earth’s animals.’ KM 2009

Developed after Matthews month’s residency on the Galapagos Islands (2009) in which she dived with, recorded underwater and filmed hammerheads, the piece uses the traces of six sharks to play six digital oscillators live, variably mixed with processings and underwater recordings making a music that thrills and relaxes as it spins audience through new architectures.

Sonic artist Kaffe Matthews was born in Essex, England and lives and works in London. Since 1990 she has made and performed new electro-acoustic music worldwide with a variety of things and places such as violin, theremin, wild salmon, Scottish weather, NASA scientists, bicycles, hammerhead sharks, school children, desert stretched wires and the BBC Scottish Symphony Orchestra.

Made by Kaffe Matthews in  collaboration with the shark (Sphryna Lewini) trackers Cesar Peñaherrera, Dr Alex Hearn, James Ketchum, Dr Peter Klimley,(UC Davis) and MigraMar,   and with Dr Adam Parkinson on software instrument coding. Matthews Galapagos residency was supported by the Charles Darwin Foundation, the Galapagos Conservation Trust , the Calouste Gulbenkian Foundation. Platform build courtesy Chris Reddington.

www.kaffematthews.net

Forest Fire by M.E.Grimm

The Auricle Sonic Arts Gallery
Showing: 3rd-31st March, 2016
Opening: Thursday 3rd March, 6-8pm
Facebook event

FOREST FIRE simulates “the accident” by pulling real-time online weather data from ecologically volatile regions in California, US. High temperatures in conjunction with wind speed, coupled with low humidity, create conditions optimal for combustion. This work utilizes these parameters to synthesize the sound of a forest fire engulfing the listener in the situational dynamics of disaster when environmental conditions are ripe for nature to exploit. Sound is fully synthesized with computer software and fire predictions are heard in the form of hissing, crackling, creaking, flames and wind. Sound synthesis and visuals are realized using the visual programming language Pd (Puredata) and draw inspiration from the sound design work of Andy Farnell.

m.e.grimm has been experimenting with digital and analog sound, in various forms, since the mid 1990’s. An artist based in Ithaca, NY, Grimm teaches media arts and technology theory. More of his work can be found at megrimm.net