LOOS Foundation

from 1983

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RCC concertseries at Studio LOOS
Curators/Producers: Stefano Sgarbi, Ivan Babinchak, Cornelis de Bondt

CC   *   XXXV   *   XXXVI   *   XXXVII   *   XXXVIII


CC

We warmly invite you to the 34th edition of the RCC to celebrate together the start of a new, research-oriented year! To avoid any misunderstanding, this will be THE real Christmas concert. If you've been to any other, unfortunately that didn't count. We will have one artist presenting her work, and an object that we can't quite specify.

Sól Ey - 2048: Systematic approach to psychoacoustics

‘2048’ is a piece that I worked on last year after allowing Excel to take over my workflow and see where it would take me. The outcome is a piece based on a mathematical system that deals with ratios and the relationship between frequencies and pulses. The system is applied to all factors used; time, space, the spectral content and the pulse. What surprised me yet motivated me to further explore the system was that when applied musically it created multi-layered psychoacoustic effects. The piece was originally composed for the Wavefield Synthesis Sound system (192 speakers) and premiered at the WFS festival in May 2018. I will also present how this systematic study has inspired my structural thinking of time and spectral thinking in terms of sound design.

Sól Ey is an Icelandic composer, media artist and performer based in The Hague. She is studying composition and sonology and the Royal Conservatoire of The Hague.

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rcc5

We warmly invite you to the 35th edition of the Romantic Cat Collection, aka Research Concert Cycle, where Soeria van den Wijngaard will present her work.

Soeria van den Wijngaard - We all assume

The idea of impermanence is deeply liberating and peaceful. Liberating because it opens all the senses and pulls you in the present. Peaceful because you realize that all, bliss but also suffering, shall pass. The mind is creating such realistic images that it is hard to believe so. While reading, formation of mental images happens automatically. This is called ‘the mind’s eye’. In my opinion this is also possible with field recordings, music and other immaterial forms of art. I strive to activate your mind-eye or mind’s eye in order to create a deeper connection with your imagination, sense of self and sense of belonging. More idealistically, I want to increase listening awareness in daily life.

She studies that what we have in common. Her main medium is (binaural) field recording. Rather than focussing on the sounds of the city or nature only. Soeria focusses her work on the small, intimate and above all relational. Vulnerability and ephemerality are at the core of all her works.

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XXXVI

We warmly invite you to the 36th edition of the Reductionist Covert Claw, on the 2nd of March, in Studio Loos.

Elodie Vreeburg - Garden of pavement

Zen gardens are places where new ideas are created through the use of metaphors and the fluidity of the natural sand, the street where a structure has to be followed and where there is no possibility of shaping anything by ourselves. Throughout a collaboration together with a road building company I merged those two elements together in a performance by one of the workers.

Elodie Vreeburg is a half French half Dutch conceptual artist/photographer currently studying in her 4th year fiction photography at the Royal Academy of Art in The Hague. At the moment she is working on the metaphors behind the road in which she is researching how to escape from the city structure and how to create awareness again of the core principles of living. In past projects she is intervening in the social structures in which she emphasizes on the relation between man and nature, human behaviour and obsession. Pointing out on situations, suggesting other possible ways and trying to make people react on the unusualness of some behaviours.

Lucie Nezri - once racing ceased, essentially the old 166 renumbered

Centered around the single unifying concept of ‘spectrum probabilities’, my musical practice methodically examines the timbre and structure of overtones created by stochastic synthesis techniques. as a reminder (and/or an invitation to yawn), stochastic synthesis refers to a non-standard dynamic sound synthesis technique (zzzz), based on randomness and probabilities applied to a microscopic level ( ). it allows for creating sound material with uncountable degrees of instability and malleability ( = intriguing). For this RCC, i’m planning to present a new study, mysteriously entitled ‘once racing ceased, essentially the old 166 renumbered’, from which i intend to explain how simple compositional ideas emerged from the methodology i’ve recently been working with.

Lucie Nezri is an experimental composer, programmer, performer, dj from france, currently studying at the institute of sonology. in her eclectic artistic practice, nezri is drawn towards the notion of propensity, the use of probabilities and deviations. yet, definiteness and restraint eventually became essential components of her work as she carried on her musical-computational explorations. (because, you know, contradictions and equivocalness are part of the equation)

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XXXVII

We warmly invite you to the 37th edition of the RCC, that is Reason Can Condone!

At this event we will be conducting a series of experiments that are considered to be pseudoscience by the scientific community as well as us.

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XXX

We warmly invite you to the 38th edition of the Restricted Cocaine Candidates, aka Research Concert Cycle. For the last RCC of this season, we will have Marlene Fally performing and talking about her research on screaming, and afterwards we will proceed to a festive dinner and life changing discussions.

Marlene Fally - piece for noise and distorting voice
I am researching the scream – right now I am mostly focussing on how screaming can release, but also create, tension, how it acts as a form of (non-)articulation and how the scream can open up new layers in an acoustic as well as mental space. During this research it has been helping me to also look into theatre, breathing techniques, concepts of noise and political/social meanings of the scream as well as the usage of one’s voice in relation to their (percieved) gender. Furthermore, I am interested in the scream in a performative setting – especially in the relationship between the audience, who witnesses the scream, and the performer (who screams). I aim to explore this topic through gradually building and evolving a live performance around the scream (and it is crucial here to scream myself) and conversations with people, who are interested/work with the scream too.

Marlene Fally is currently studying sonology in the Hague. She is mostly drawn to live performance and keeping herself busy learning how to code as well as thinking about the social and political aspects of sound, music and live performance. The voice has been fascinating her for quite a while, which played into the choice of the topic for the project she is working on these days. She also composes pieces, plays in a band and every now and then she works with visual media as well.

Dinner discussion about the history and future of the RCC
We would like to invite you all to an open discussion about the history and the possible future of the RCC. Whether you were attending or presenting at one of our events, we would be interested to receive feedback if it'd been helpful to your praxis. Unfortunately, two of our board members are leaving, so the aim and working of RCC might change next year therefore if you have some thoughts or want to impose your own agenda; now is the time.
Dinner and drinks will be available for friendly prices so the discussion can be held in a great Christmas spirit.

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