You Can’t Trust Music, Chapter Four: To Hold the World Audible – Announcements

“Everything ties together in the end.” (1)

“Down where it’s green, where it’s salty, Earth moves against the world under ink hides, post-cognitive, perceptive worker probes and last-minute radio.” (2)

The artists who have contributed to this final chapter of YCTM explore the potential of a world’s sound response as it struggles to free itself from humanity. Beginning with memories and dreams captured by sound on film and moving on to the felt effects of climate change and extinction, this chapter posits an empathetic future where human-centered civilizations are comprehensively regulated. They become This chapter is presented in association with Infrasonica. And with Kunsthal Trondheim.

I main character Apchatpong WeerasethakulOf Memory (2021) describes a recurring encounter with an eerie boom: “It is like a rumbling, coming from deep within the earth…”, the grinding sound of what Stefano Harney And Fred Moton Describe as …the movement of the earth against the world.” (3) In his article on Veerasithakul’s sound works, Abhijan Toto examines the cinema as a place where “…our connection to multiple worlds becomes clear, in all their friction and violence, and the sound can be heard across the world.” The article is accompanied by “Future Memory”, a track produced by Koichi Shimizu For Veerasithakul’s film Syndrome and a century (2006).

In a multichannel sound installation Vedøya — Woe to the mountain of the bird that lost its voice, #1 (2022), Alan Mar Owen Wester Vedøya (Røst) gives voice to the mountain. Once home to one of northern Europe’s largest nesting colonies for seabirds, Vaidya fell silent in 2020 as a result of climate change and rapid degradation of the marine ecosystem. The large rock now serves as a memorial to the extinction of the many species, sounds and languages ​​of birds that once occupied its slopes. Presented with Kunsthalle Trondheimthis section is organized in conjunction with a joint exhibition by Øyen Vister. Kana Guana Concha. with Cecil M. Berg And CAROLINA CACEDOWhich includes work. Janek Schoening And David De Rosas. Produced by the exhibition at the Kunsthall Stephanie Hessler with Katrin Elise Agpalza Pedersen And Kaja Griffisli Wagon In collaboration with the exhibiting artists.

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Birds make stones out of stones. (2017) by Kite It includes a recording of the shores of the Hudson River, River Leaping in Poet’s Footsteps, Taos Hum, Jacob’s Ladder Electric Instrument, Conch Shell Sextet Rehearsal, Harp Excerpt from Previous Work, and Artist’s Voice. “You see, every cell in your body contains information about the world,” says Kite. In the ontology of the Oglala Lakotas “…even metals, rocks, and minerals can be customized.” In his 2017 article Relating to machines, Co-written with Jason Edward Lewis, Nolani Arista. And Archer Pechavis, the kite reiterates the material agency of stone, rock, and minerals in creating cell technology, because “AI is not just made of code, but of the material of the earth.” (4)

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Filmmaker and artist Lawrence LakeVideo of Dark clouds (2021) propose a scenario in which the now dehumanized world continues to use memory, trauma, self-help and verification scenarios as it struggles to maintain dysfunctional standards of civilization and surveillance. Is. The narrative unfolds through the conversations between the AI ​​overseeing the city called Black Cloud and his therapist Guanyin. This work presents AI not as a technological product or a creative tool for innovation, but as a container for affect and emotion. In the accompanying interview, a conversation between Lake and the curator Rachel Rex And Reem Shahid Touches on the traumas of human-driven destruction for human-engineered creatures. As the self-directed patriarch regains his spiritual freedom he notes that “…the past disappears, because it is only a memory. The future disappears because it never happened. It always is.” Tomorrow never comes.” Presented jointly with the segment. Infrasonica.

Kunsthalle Trondheim Trondheim and Trøndelag are the largest international arena for contemporary art in the region. Through exhibitions and public events, the Kunsthalle engages with the local scene, introduces renowned international artists as well as overlooked works, and connects with a large and diverse audience. Kunsthall Trondheim is located on local land in Åarjelsaepmie or South Saepmie / Sápmi / Sábme.

Infrasonica A digital platform for non-western cultures. It records, analyzes and discusses the vibrations of sound and its auras, which relate to the world of the audible, the invisible and the sensual. The platform includes archives of experimental sound and visual artists as well as theoretical musings on contemporary critical thought. Infrasonica is excited to join Xenia Benivolski and Lawrence Lek in the latest chapter of You Cant Trust Music, along with contributing editors Rachael Rakes and Reem Shadid.

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You can.T Trust Music (YCTM) Presented by E flow is a research project connecting sound-based artists, musicians, authors, composers, and writers and explores the way that landscape, sound, and musical thinking contribute to the formation of social and political structures. It is presented on a platform that has been designed. Noth and Rainer Prepared by and Noth and Rainer with Jonas Holfield. is made possible by funding from YCTM. Canada Council for the Arts. Produced by E flow Developed in partnership with and M. Woods, NTT Intercommunication Center (ICC), Liquid architecture, York University Art Gallery, Kunsthalle TrondheimAnd Infrasonica This chapter deserves special thanks. Theresa Wang, Jane Wilkinson And Robert Steinkemmer.

Curated by YCTM. Xenia Benivolsky.

1 Ito, J., “Resistance Reduction: A Manifesto,” trans. H. Yamagata, Journal of Design and Science2017.
2. Harney, S. and Moton, F. “Fundamental Beliefs,” E-Flux Journal 86, November 2017., accessed January 15, 2023.
3. Ibid.

4. Lewis, JE, Arista, N., Pechawis, A., & Kite, S. “Making Kin with the Machines.” Journal of Design and Science2018.


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