Monday 28 December 2015

CLIMATE CHANGE submission for listening

A listening room is a place where we listen and talk about what we hear. All submissions should be sent to alisteningroom (at) and be clearly titled CLIMATE CHANGE SUBMISSION.

The third listening sessions is yet to be held, yet I feel compelled to initiate a fourth session with the title CLIMATE CHANGE. With the Paris talks right behind us, floods in Chennai and Yorkshire, unheard of winter and summer temperatures, methane leaks in Los Angeles, the dying off of biodiversity and drastic reduction of all glacial ice around the globe the world appears to be changing at an alarming rate. Yet evermore we seem to be stuck inside the eye of the hurricane, as if the pace of change around us has outdone our collective reflexes. What we can be done by an individual seems negligible, yet it is clear that drastic action must be taken, to shift the equation closer to manageable physically and psychologically.

Thus I feel compelled to ask questions. What is my relationship to global warming, do I need to think about it, does my relation in fact only exist through media? What is our response, or what should be our response? Should be politicize it, where will this lead? How do we mobilize action? Where does sound come into play in our relation to climate change? Where does sound come into play in my relation to what I hear about it and what makes me fear climate change? Is climate change even real? How do I sense it? What about resources, can we manage them better? Are sounds resources? Can we raise awareness in communities inside and outside the music and art space? Should this be something we need to think about? How do these questions affect the work we produce? Should it? What will sound be in the future? Is sound already nostalgic? Can sound react beyond the archival?

The issue is big, and the questions, coloured by my own desire for action, do not aim to be exhaustive or even necessary. They aim at pointing especially towards our personal relations to climate change, how it appears to us, and the relation of this is to the local sound ecology we inhabit: both biological and mechanical. I do not wish that people only listen more to the animals around them, but also the plants, people, news coverage, cars, everything that can be picked up. How will this all change along with the climate?

We are taking submissions tackling precisely this, and I would like participants to consider this issue from the subjective and personal to the planetary point of view, again submissions can be anything recorded, it can be made for the occasion or be something already made. We accept everything and will listen to everything submitted.

The call is open to everyone. Sessions last a day, and everyone is free to come and go as they please. If you wish to submit sounds or music please email us clearly stating as your subject CLIMATE CHANGE SUBMISSION to alisteningroom (at) if you wish to submit something which is not online please wetransfer it to the same address, again clearly stating the subject and your name in the message box. If you wish to write something about your submission please feel free to so do. All works will be published on our site and the sounds which are online will be linked.

The date of the session will be announced soon.

Tuesday 1 September 2015

SAD Sound Art Day

Sound Art Day Helsinki - SAD Helsinki

Monday 24 August 2015, starting at 17.00 at Magito, Kaasutehtaankatu 1, building 7, Suvilahti, Helsinki.

Free entrance. Bring your own beverages. BBQ if weather permits, everyone is welcome! 

17-18 Jukka-Pekka Kervinen
18-19 Timo Tuhkanen
19-20 Fernando Visockis
20-21 Arta & Spells Disaster
21-22 Marko Timlin
22-23 Bufflo

Sound Art Day Helsinki is organised by Artists' Association MUU, A Listening Room, A Room, and Third Space.

Sound Art Day of Helsinki, or SAD Helsinki, is a joint venture between several organisations, galleries and individuals in the Finnish sound art community. It's aim is to showcase new and old sound art and artists and generate intrest and collaborations inside Finland and internationally through several routes and media outlets.

The SAD project, initiated by MUU - in concurrence with their new international sound art residency and featuring their current resident Bufflo (Devon Bate) from Canada, holds in great value the creation of a common playground for both small and large actors in the scene, it aims at holding an uncompromising stance towards allowing artistic freedom and hopes to enable more artists to present sound art, sound, and music in diverse locations and settings challenging as well as enriching the vibrant scene even further.

The first instalment of SAD, held at Magito studio in Suvilahti, brings to the table a smudging of the lines between music and sound art and a further play between sound and art in general. It presents intriguing works that use immersive techniques as gestures to re-map the position of the audience in relation to elements traditionally perceived as separate. Through an active call it asks that one listen beyond ones sense of hearing into the world where abstract sound is not the only element, and where sounds, symbols, relations, figures, and people exist. In this spot, elements such as performance, narrative, light, and drawing become entangled in the sonic environment, enabling new thoughts and techniques to emerge concerning music or instrument virtuosity, consequences of actions and result, installation duration, fixed media, human machine relations, or recontextualising familiarity infinitely.

Next SAD Helsinki event will be organised 19 September 2015 at Lava-klubi, National Theatre, Helsinki.


A LISTENING ROOM is a place where everyone can come and listen and talk about what we hear. Sessions function through international open calls. 

A ROOM is a space contained. Persons are contained spaces too. A ROOM is a small space, almost a dress. It has certain features and characteristics that you will discover spending time in it, and modifying it with your thoughts and your creations. It has been used to write, to draw comics, to build site specific installations.

MUU is an artist run, Finnish interdisciplinary artist association, founded in 1987 to represent and promote new and experimental forms of art. These are such as media art, performance, video, environmental, space and conceptual art, sound and other experimental modes of cultural production. In the beginning of Autumn MUU will open an online database which collects and archives Sound Art projects. The SOUND ART BANK is an online database which collects and archives Sound Art projects, such as contemporary and experimental audio works, sound installations, sound sculptures, performances and concerts, as well as sound art exhibitions and documentations. SOUND ART BANK offers possibilities for listening and buying Sound Art, and is a tool for helping Sound Artists in their work. 

THIRD SPACE is a collective seeking to unsettle preconceived notions of the other. As cross bordertranscultural operatives we seek to erase the invisible lines that separate us. Armed with the intangible weapon of sound and the understanding of the power of visual culture, we form cracks in knowledges situated around us. Based in Helsinki, Third Space facilitates site specific work focused on sound art, visual art, performance art and spoken word. Collaborations can take the form of workshops, exhibitions, lectures, installations and hacking sessions.(¿as performance?) 


A pioneer or Finnish algorithmic art, music and literature. Working with a laptop, drummachine and iPad using custom and industrial software Jukka-Pekka Kervinen immerses us in imporvised experimental elecotronic dance music where the familiar and the unsetling merge.

TIMO TUHKANEN: Musica Povera

Civilizations come and go but poverty is always with us. Yet within poverty there is creativity and exuberance in the ability to handle even minute resources non destructively. This ability to think beyond commonly perceived uses of objects and relations is essential if we want to survive the Anthropocene. Musica Povera is a part of an ongoing series with this symbolic at its core. It is a location where objects will approach commonality and togetherness in gatherings of musical sounds and then be released from the grasping hand by the descending voice. These performances are site-specific and use materials found in the immediate vicinity to construct musical instruments, which are played, and then deconstructed, returning them into their original state.

FERNANDO VISOCKIS: Ramshackle Dystonia live A/V set 

In this work, following the artist’s previous researches on sonic visualisation in live acts, a synthetic pallet of minimalistic musical and visual gestures are generated and recomposed in real time through the performer's body gestures, aiming to involve the audience in a synaesthestic and immersive sensorial experience. Fernando Visockis is a multimedia artist with vast interest in acoustic and electronic music composition, audiovisual installations, digital media and sound art. His audiovisual projects have been shown around the world and he is the founder of partnership named PirarucuDuo, experimental music group named Basavizi, and is also known as FVM aka mochka. His music work is released by the Russian label Kota Records.

ARTA & SPELLS DISASTER: Desierto de los leones

Exploring the field of audiovisual performance Arta & Spells Disaster, being Ana Gutieszca and Juan Duarte embrace the sonification of drawing with a music technology approach. Through real time manipulation of analog and digital electronics the audience is guided into a polisensory journey that unfolds a composition of visual and sonic juxtaposition. Ana Gutieszca works with the acoustic qualities of drawing by creating analog & digital instruments, as well as the sonification of graphite and its deconstruction into performance. Juan Duarte focuses on interactive and generative digital and analog platforms producing engagement through art and technology artifacts.

MARKO TIMLIN: Sound-Disk-Machine

Marko Timlin is a sound artist, composer and musician. Additionally to working with analog and digital electronics, he composes music for plays, choreography, and creates sound installations. His performance centers on custom sensor-based musical instruments, connecting the physical world with the machine world. His work uses components not originally conceived for musical use and are often made out of discarded elements. He is highly convinced that the artistic application of technology is socially significant, as it is exemplary in proving a peaceful and enriching coexistence between man and machine. In performance he proves this by delicately balancing between darkness and light, silence and sound, action and stillness. The Sound-Disk-Machine he constructed in 2014 is a photo-electronic musical instrument that converts light, even non-visible light such as infrared, into audible sound.

BUFFLO: Regressive Disco Theatre

Due to the erratic dissemination of popular digital music, the medium has no dedicated venue. While the theatre, the cinema, and the gallery are venues that provoke expectation and sensitivity, digital music and sound art is left homeless to background noise and desensitized listening. Regressive Disco Theatre is an immersive sound installation that presents the latest work of the Montreal-based project and investigates the effects of this listening paradigm. It focusses on the regress of performance technology and the empowerment of the listener through phenomenological practice. The performance follows a narrative that will last between 30-45 minutes.

Saturday 28 March 2015

ENTANGLEMENT submissions for listening

A listening room is a place where we listen and talk about what we hear.

Our third listening session is under the heading of "Entanglement." Today, in networked societies we are bound to become entangled with a myriad of things, people, and processes that can play on multiple aspects of artistic practice. Sound in essence is entangled, through spatial, physical, therefore harmonic and aesthetic inclinations it entangles separated from its source in air to produce the thing that ends up touching us. Yet entanglement need to necessarily refer to media, entanglement is everywhere, and not only conceptually, for example different plants entangle as they grow, snakes weave into each other as they hibernate. Every type of variation of entanglement is possible on many levels in both the digital and analog realms. So, what is entanglement? How are we related through it? What aspects can sound or music reveal of this as we listen? How can we hear it?

The call is open to everyone, and we will listen to everything that is sent to us. Sessions normally last from a few hours to a day, and everyone is free to come and go as they please. If you wish to submit sounds or music please email us clearly stating as your subject ENTANGLEMENT SUBMISSION to alisteningroom (at) if you wish to submit something which is not online please wetransfer (etc) it to the same address, again clearly stating the subject. If you wish to write something about your submission please feel free to so do.

Ongoing submissions.

Sunday 1 March 2015

ORGANISATION submissions for listening

A listening room is a place where we listen and talk about what we hear.

ORGANISATION submissions for A Listening Room. A total of 17 pieces, including single works as well as albums and scores, a total of approximately 2.5153 hours. The theme is curated by Timo Tuhkanen.

Why should something feel more organised, or better organised, then something else? This sensation of things being in order has always been fascinating and has fascinated many fields or art and research. But what does this mean for the ears for which things unfold over time, like objects that pass before ones eyes one at a time? Visually organisation is in the focus point of the eye and the subsequent somewhat cyclical movement of the eyes around the composed materials. This when it calms the mind appears as "organised". Is it possible to "view" music in this sense? Is there something natural in musical organisation? Must this organisation be connected to development, something that is naturally fostered in music? To have an idea into what ones senses are always led into over and over again? Can this be thought of as the definition of a sense of a tonal center as it appears in traditional harmony?

Here the idea of organisation idealizes the focus of the sonic and musical elements in each piece, a graceful simplicity in the way in which things relate and morph in the total of a composition.

1) Leonie Roessler
Wissenschaft 03:03

2) Riku-Pekka Kellokoski
Avara 08:20

3) Astoreth cult
Barren 06:29

4) Jamma!
La mia anarchia 07:40

5) Massimo DavĂ­ & Monica Miuccio
Iride Project - Portas do sol 08:10

6) Joshua Banks Mailman
Murmurs of the Moist 11:11

7) Pablo Sanz
 Maghrib prayer 11:32

8) Juan Carlos Vasquez 
Collage 9

9) Matthew Burtner
Glass Phase" (Part 2) 03:58

10) Alessio Rossato
Veglia 11:57

11) Elizabeth A. Baker
Impressions of Ancient Earth 19:38

Three compositions for Piano and electronics 19:37

12) Elizaveta Sanicheva

13) Clare McNulty
The story of us in polycrystaline parts 03:42
14) Anne-Marie Turcotte
Amor, tu vedi ben

15) John Starosta
ACV-H20 09:24

16) Maria Romanova
 Scenes of pagan rites of the ancient Slavs 19:02

17) Nailah Nombeko
Children playing and birds chirping 06:05

18) Janne Nummela
Amskomoutator 21:47