5th meeting report

Many thanks to Marko Kosnik for joining us yesterday at the helikoosolek. We explored ideas of corporeal (or individual physical) tunings, running through a series of vocal exercises as a way of seeking the individual resonant frequencies within our own bodies, and discussing the inherent inconsistencies of institutional forced matched tunings on bodies that are intrinsically different.  We recorded our vocal experiments, including collective vocal exercises in which each participant had ears covered, in order to concentrate specifically on 'singing in'.  we will be posting samples from some of these recordings, as well as a few images, shortly.

We are also looking for ideas from the community for upcoming helikoosolek editions. If you have an idea for an activity, workshop, exploration or presentation, let us know! The next meeting will be Wednesday, August 25th; stay tuned for details! And for our participants: comments are open below; please let us know if you what you thought!

5th meeting, wednesday, july 28th

MoKS presents:
helikoosolek:tartu
Corporeal Bioacoustics, with Marko Kosnik
Wednesday, July 28
6-8pm
Eesti Rahva Muuseum, Tartu

a journey into corporeal bioacoustics / some practical exercises for the social bodies of self tuned individuals / by marko kosnik

This edition of helikoosolek:tartu features a visit from Slovenian artist, and current resident at MoKS, Marko Kosnik.

In the common practice of singing we are used to refer to a generally accepted tuning system and musical scales, which enable us to orchestrate, harmonize, transpose and modulate musical phrasing in collective situation. There are different kinds of absolute and relative tunings found around the globe, based on variety of cultural traditions. The references for tuning might depend on instruments in use, surrounding acoustics, commodity of singers, ...

As humans we have our own very specific acoustics at hand, that of our own body. by attentive listening to the resonant volumes of our own bodies while singing, we can conduct vibratory experiences which lead to tuning based on individual bioacoustic properties.

There are sets of experiences to enjoy when self tuned individuals enter the choir situation. the aim of the workshop is to evoke and introduce these kind of experiences in a participatory situation.

Marko Kosnik (Slovenia), polymedia artist, started his carrier in 80's as collaborator with many alternative groups (Junajtit Adis, Laibach, Cavis Negra, Most). Since the beginning of his collaborative projects he was producing creative environments, open labs and media platforms, dealing with synchronisation of authors from different backgrounds and self organisation. Crossing from acoustic studies of subterranean Karst to performances and installations with sonorostatics (electro acoustic plates) he initiated his own productions in the frame of Egon March Institute, and started building interactive environments in 1993. Kosnik acts as performer, installation artist, producer and video instrumentalist. In the span of 24 years he connected over 30 international artists in research and productions of Egon March Institute worldwide.
http://web.me.com/marchegon

helikoosolek:tartu is organised by MoKS and supported by Eesti Rahva Muuseum, Tartu Linnavalitsus and Eesti Kultuurkapital.
http://helikoosolek.blogspot.com
http://www.moks.ee
http://www.erm.ee

4th meeting report

Thanks to everyone who came out for the soundwalk. We had a group of about 12 participants with many new faces. I spent the previous afternoon planning out a simple route to walk starting from the museum. The general strategy was to focus on passing through different sound environments and to see how far the group would realistically walk in 30 minutes. While most of what I planned happened, there were some nice surprises. The main "catch" to this soundwalk was that the group divided into pairs with one person being a guide while their partner was blindfolded. After half the walk the pair would switch roles. What I didn't expect was how freely the guides interpreted their roles. Immediately many of the guides chose to highlight the tactile environment as much as (if not more than) the sonic environment. While "leading" the group I often turned around to find blindfolded people touching trees, buildings and other objects along the way. Thee were also a few situational surprises like the fellow practicing his martial art in Toomamägi park eventually finding himself surrounded by our group. None of the blindfolded people knew what they were listening to until they opened their eyes. Overall it seemed to be a sensory heightening experience for most, something a few said, they would like to try again in their own way.