Sound Off! // Comment Klatsch #8: Sounds From the Past
klatsch \KLAHCH\ , noun: A casual gathering of people, esp. for refreshments and informal conversation [German Klatsch, from klatschen, to gossip, make a sharp noise, of imitative origin.] (Dictionary.com)
Dear Readers: Today’s Sound Off!//Comment Klatsch question comes to you from Maile Colbert, SO! regular, as a follow up conversation to her World Listening Month post: “Wayback Sound Machine: Sound Through Time, Space, and Place.” Give it a read and/or just jump right in and let us know what you think.
— J. Stoever-Ackerman, Editor-in-Chief
P.S. Don’t forget, we are giving away a Sounding Out! sticker to today’s Klatsch participants. After you’ve commented, simply email your snail mail address to firstname.lastname@example.org.
What information can sound from the past carry and how might that be useful or important to us in the present?
Comment Klatsch logo courtesy of The Infatuated on Flickr.
About Maile ColbertMaile Colbert is an intermedia artist with a concentration on sound and video, relocated from Los Angeles and living and working between New York and Lisbon, Portugal, and teaching at Faculdade de Belas Artes da Universidade do Porto. She spent the last three years collaborating with the art organization Binaural (http://www.binauralmedia.org/), is currently director of Cross the Pond, an organization based on arts and cultural exchange between the U.S. and Portugal, and is an ongoing contributor of articles on Acoustic Ecology and Sound Studies at “Sounding Out”, the award winning sound studies journal (http://soundstudiesblog.com/). A recent focus on her research involves time travel through sound. She holds a BFA in The Studio for Interrelated Media from Massachusetts College of Art, and a MFA in Integrated Media/Film and Video from the California Institute of the Arts. She has had multiple screenings, exhibits, and shows, including The New York Film Festival, The Ear to Earth Festival for Electronic Music Foundation, LACE Gallery, MOMA New York, Los Angeles County Museum of Art, the REDCAT Theater in Los Angeles, The Portland International Documentary and Experimental Film Festival, the Future Places Festival in Oporto, HOERENSEHEN 2.0 in Berlin, The Exchange in Cornwall, UK, the Störung Festival in Barcelona, the Teatra Municipal in Guarda, the Observitori Festival in Valencia, and has performed and screened widely in Japan, Europe, Mexico, and the States. She was a part of a featured installation at the 2009 UN Climate Conference, and recently had an audio-visual installation premiere as one of the selected feature artworks at an exhibit in Guimarães, Potrugal for the 2012 European Capital of Culture. She was a visiting lecturer teaching Sound Design at UCSD, and guest artist and lecturer at NYU, Escola Superior de Teatro e Cinema, MassArt, Calarts, SUNY Buffalo, SUNY Binghamton, Muhlenburg College, and Universidade Nova de Lisboa. She has designed sound and composed for such works as Rebecca Baron's film How Little We Know of Our Neighbors, winner of the Black Maria Film Festival Best Film, designed sound for Adele Horne's feature documentary The Tailenders, broadcasted on PBS POV and winner of a 2007 Independent Spirit Award, Allan Sekula's epic The Lottery of the Sea, and designed sound for Betti-Sue Hertz's multi-media mutli- channel installation at the Centro Cultural Tijuana for the 2005 inSite Festival. She has just finished two new albums, "Come Kingdom Come", an experimental opera on millennialism and apocalyptic thought and theory, to be released 2012 on Two Acorns (US/JP) and performed at the 2012 Activating the Medium Festival in San Francisco; and “For”, an album of dedication, released Winter 2011 on Intransitive Recordings (US). Her intermedia project “Where Under”, which toured the East Coast of the States in 2010, starting with the Camden International Film Festival, and ending with the Paivascapes Festival in Northern Portugal, will also yield an album of the same title to be released 2012. She is currently in production on an epic multi-disciplinary and multi-media performance of a fictionalized and personalized Portuguese Maritime history grasping towards the definition of "home"; Passagiera em Casa/The Passenger at Home, co-produced by Binaural and Cross the Pond, funded by the Ministry of Culture, and in affiliation with Universidade Nova de Lisboa, Faculdade de Ciências e Tecnologia, that will run 2011-2013 in Portugal, New York, Australia, and so on and so forth.
- Ritual, Noise, and the Cut-up: The Art of Tara Transitory
- Enacting Queer Listening, or When Anzaldúa Laughs
- Sounding Out! Podcast #46: Ruptures in the Soundscape of Disneyland
- Straight Leanin’: Sounding Black Life at the Intersection of Hip-hop and Big Pharma
- The Sweet Sounds of Havana: Space, Listening, and the Making of Sonic Citizenship
Search for topics. . .
- RT @dies_journal: Many of our Editorial Board members are presenting at #2015ASA; be sure to check their talks out! convention2.allacademic.com/one/theasa/the… 3 hours ago
- RT @jmjafrx: Photo: How Does it Feel? Aesthetics, Minoritarian Politics and the Political Sensorium #ASA2015 #2015ASA tmblr.co/Z9XVXy1vqrJJ2 3 hours ago
- RT @TAPPhD: #2015ASA Thinking thru Kara Walker's reveling in the grotesque, laughter of her work, emphasizing black pain. 3 hours ago