Dur: 50:23, 69.2 MB, 180kbps MP3
I will start a separate topic about this. Let's see what is possible. I do not wish to be constrained by the lack of resources to make this happen. It's just a shame that we had money to get over and now we don't. Let's not lose heart and lets focus on what we have done and build from this.
]]>Hankil is gathering up all the names of the performers so to ensure everyone who was involved is acknowledged for their contribution. In the meantime, the piece can be downloaded here. Includes the few photos I managed to get onto Flickr.
]]>In the meantime, I had proposed to Art Center Nabi that with the advent of new technologies we can utilise a combination of existing services, which in itself is a great project, to pull together the resource sharing component of the project.
]]>Although a small amount it was enough to cover airfares for at least 2-3 of us. We were keen to make use of this fund, but it seemed difficult to raise any additional support. Regrettably, last week I had to let this funding go as it was clear there was no scope to utilise this money within the context of the original project in Seoul.
Art Center Nabi have a full years schedule and additional funds appeared nonexistent, at least not the funds we would need to cover accommodation, freight and fees.
So, in terms of funding we are back at square one. I will have to reapply to the AKF, but this won't be possible without a schedule and right now it seems 2006 is out.
]]>It was agreed that the addition of assets such as still image and sound uploads would be possible in the overall scheme of the EngageMedia (EM) server.
Group logins possible. This means we can have an SU Seoul and SU Melbourne group.
ACTION
MMS funding requirements
The Australia Council grant, should it come through, will provide a
budget for:
ACTION
Collaboration with Jinbonet re: bi-lingual interface
Clarified roles and as soon as feasible, will provide Jinbonet with access to the EM development server. This will give them an idea of the interface components, although final fields and descriptors are yet to be ratified.
ACTION
TS/c2o involvement in development
c2o/Toy Satellite will provide interface design and implementation of that design to the Media Upload Server (MUS).
If required, technical assistance in overall development of the MUS will be available, funds permitting.
Server load/storage share may also be possible and will be investigated.
ACTION
Other collaborations
AG discussed benefits of EM to broader online content delivery opportunities for OPENChannel (OC). Introduced possible uses for EM at OPENChannel, as well as other Screen Development Agencies in Australia. If project development partnership with OC is possible, access to tenancy services may be possible.
ACTION
Meetings with Toy Satellite's Korean partners (Art Center Nabi, Jinbonet and IPLeft, Australian Embassy Seoul) established project aims, objectives and roles. The joint meeting/workshop highlighted the fact that this project is not only a creative exercise, networking amongst partners is creating opportunities that may not have existed prior to my visit. For example, exposing Open Access Licensing from IPLeft to the new media arts community, particularly sound and video artists, has not only raised IPLeft's profile, it will engage with a new sector of the Korean cultural community, one that supports the notion of a culture liberated from some of the constraints of conventional copyright licensing.
Local collaborators were identified early on in the visit, many artists attending a lecture I gave at Art Center Nabi's Upgrade series. I was invited to perform at what was described as the only live electronic sound and live video venue in Seoul, Relay, and in response to the acceleration of mutual goals between local artists and myself a recording workshop in the second week, in association with Nabi, was organised. This consolidated the collaboration that, in many respects, has already commenced. In addition, opportunities for ongoing collaboration post-Synesthesia Urbania have been mooted. It has been suggested that the project be replicated in Australia, with Korean artists being our guests.
Two likely venues were visited and reviewed (SK Telecom's new building and Tispen Theatre). Both quite suitable for the performance, although one would have less appeal in terms of sound. As a result of these visits and lengthy discussions a revised pre-production and performance schedule has emerged, including the likelihood of Synesthesia Urbania being performed in association with Resfest Korea. Toy Satellite will commence pre-production in Seoul from 10 November, perform Synesthesia Urbania towards the end of Resfest and participate in a post-production forum and workshops up till 22 November.
My ongoing research into Korea's traditional forms of music, specifically that of Sinawe, bore some interesting findings. In short, little is known of Sinawe in mainstream Korean culture and even less so in ours. It was suggested on several occasions that I should write of my experiences. Such a project would take place during a residency, suggested by the Australia Korea Foundation, who encouraged me to apply via ASIALink in Australia.
Unexpected outcomes included preliminary discussions with Austrade about support for an Australian Korean new media arts fare, incorporating both sound and screen works; the impromptu recording workshop and the products that may result from this; extensive music exchange and meetings with Korea's pioneer electronic performance and recording artists; tour of the remarkable TISPEN recording facilities and invitation to use the 12 channel matrix sound system available in their theatre, very much under-utlised; in-depth discussions about Korean "traditional" culture and shamanistic practice with a anthropologist supported by the Korea Foundation, and an unexpected cafe meeting with 80 year old Jhongman Rhee, official translator for the US Military during the Korean war.
]]>Martha Ramirez Orpeza, Cultural Development and Globalisation.
]]>A week into the program and I've met and performed with the small crew that constitutes Seoul's sole electronic music and performance video scene.
Part of the trip was to find collaborators for our project, those who we would work with later in the year to produce two performances and an installation in Seoul. In addition, I would conduct workshops, one for all project partners and another for potential collaborators.
I met most of them at a lecture I gave at Arts Center Nabi, who have commissioned the work. I provided an overview and discussion on the lineage of improvised and collaborative sound and video works I have conceived and/or initiated over the years. This lead to an invitation to perform at Relay, the only live electronic music event in Seoul, if not South Korea.
I was impressed with the freshness and vitality of the work, particularly the sound pieces. Most impressive was a piece from Soo-Whan Choi who guided his sounds an almost orchestral fashion whilst a collaborator drip fed a curious variety of hard-disk noise triggered with a remote "play" device. All very DIY.
I'll return to Melbourne with a small stash of CDs I'm sure a few of our mates in distribution and retail will be most interested in.
For the rest of the week I'll be conducting a field recording trip to Gil-Sang-Sa, a monastery revitalised by Korea's last geisha, Madam Jay Ar Kim. I plan to record the evening prayer bells. On Thursday evening I've arranged with the organiser of Relay, a recording session with local sound artists basing the work on the processes we use in the Terminal Quartet. This will also include a Swiss born, Korean cellist and the composer Dr. Seongah Shin, the only woman I've met in Korea who writes electronic music.
The aim of the exercise will be to establish a process for Synesthesia Urbania, which will also include Australian electroacoustic composer Ollie Olsen, synthesist and performer, Steve Law and 3D video performance artist, John Power in the complete work to be performed late 2005.
For more information about this project and updates from Seoul visit:
http://toysatellite.org/syn-urbania/
http://toysatellite.org/agarton/
Synesthesia Urbania has been commissioned by Arts Center Nabi and is being produced in association with the OPENChannel Collective (Melbourne), Australian Embassy Seoul, Jinbonet and IPLeft, MEDIAct and Creative Commons Australia.
]]>Jinbonet + IPLeft
Australian Embassy, Seoul
