mandag 19. oktober 2009
Sound Poetry Day the 25th of October in Cooperation with Oslo International Poetry Festival
NB! The event starts at 13.00 !!
The Swedish composer, Sten Hanson, was leader of the Fylkingen language group from 1968 and in charge of the Text-Sound Festivals which were held for many years. He is self-taught as a composer. In Sweden, he was chairman of the ISCM (1975-1981), member of the Royal Academy of Music of Sweden and President of the Swedish Composers’ Union (1985-1994), member of the Executive Committee of International Confederation of Electroacoustic Music (ICEM) (1981-1982) and Chairman of this organization from 1997 to 2002. Hanson has been working with experimental music, literature and art since the beginning of the 1960’s, cultivating both instrumental, vocal and electroacoustic music for performance on radio and television, on outdoor occasions or from the concert platform. Text-sound-visual image, often combined with intensely personal ’live” performances, are vital ingredients in Hanson’s work and he is one of the forerunners in the field of multi-media art. His works include electro-acoustic pieces as well as instrumental and vocal compositions. From the end of the sixties up to 1979, he worked essentially with electroacoustic music and created, with Lars-Gunnar Bodin, Åke Hodell, Bengt Emil Johnson, the theory and the practice of a new aesthetic field: ”The electronic text-sound”. Sten Hanson realized a large number of works in various styles : works for television, ballet music, performances, audiovisual performances assisted by computer, pieces for instruments and tape and/or electronics, works for orchestras and computer music. Many of his early compositions were short, hard hitting collages of text and sound with a socially and politically committed content: Che (1968), Western Europe (1969), Revolution (1970). In other works the emphasis was more on humorous burlesque: Coucher et souffler (1968), How are You (1969). Compositions like Fnarp(e) (1970) and L’Inferno de Strindberg (1971) have passed through more extensive electro-acoustic processing, as is also the case in the humorous but cautionary The Flight of the Bumblebee (1982).
Famlende Forsøk from Arendal/Eydehavn in Norway started up in 1981 and made a name for itself with a long series of cassette releases during the 1980s and the cult record Ars Transmutatoria in 1990 – an album that is often cited as a major source of inspiration for the 1990s generation of Norwegian noise and experimental music. The band consists of the vocalist Brt and the musicians Lumpy Davy and ChrispH. Accompanied by long drawn-out electronic and acoustic sounds, Brt chants his distinctive lyrics in his Arendal dialect, reflecting Burrough’s cut-up literary techniques and sound poetry aesthetics. Following Ars Transmutatoria, Famlende Forsøk (lit.: Fumbling Attempts) spent 16 years completing their project based on the horror writer H.P. Lovecraft One Night I Had A Frightful Dream. The concert at Høvikodden will be their first in the Oslo area for many years.
Jordan Scott Jordan Scott lives in Vancouver BC, Canada. He is the author of Silt (New Star Books 2005) and Blert (Coach House Books 2008). Silt was nominated for the Canadian Dorothy Livesay Poetry Prize. In the fall of 2006, Jordan worked on the final sections of Blert while acting as a writer in residence at the International Writers’ and Translators’ Centre in Rhodes, Greece. In the spring of 2009 a short film based on Blert appeared on the Bravo! network. He spends the spring and summer slinging canoes at Pitt Lake – the largest freshwater tidal lake in North America.
Pär Thörn Pär Thörn (b. 1977) lives in Malmö. His first works he printed himself. Later OEI (periodical for experimental poetry) and the publishing house Modernista published his works. Studiemannen (Modernista, 2008) is his latest book. In Sweden Pär Thörn has both a reputation of being one of the most talented and inspiring new authors and, at the same time, infamous for writing degenerated conceptual literature. And it’s nothing wrong with either. His work is referential and formalistic. The texts absorb, in an almost encyclopaedian way, formalities from the cultural surroundings of the Swedish social democracy. But they also employ an audio poetic materiality which bare witness of the author’s connection with audio aesthetics. Thörn is a sound artist and reveals Fluxus as one of his main sources for inspiration. The connection between the formalistic and audio poetic turns his texts into subtle reports on everyday existentialism, a quality underlined by his almost laconic way of reading.
Sarah Granskou Ontario native, Sarah Granskou (b. 1973), has grown deep roots and outreaching branches in the traditions of her Norwegian heritage. She has learned to sing in the tongue of her forbears, and to play and carve the Norwegian Hardanger fiddle, applying her Canadian sense of innovation to the Norwegian art of imitation. Sarah Granskou has developed a niche as a contemporary “Canwegian” scald (Nordic bard), applying her Canadian sense of innovation to Norwegian oral tradition. While Sarah draws on ancient art forms, her recitations and lyrics are accessible today and relate often to her own experiences following the Sami reindeer migration, living amongst the Inuit people, working on Norwegian farms, playing for weddings in a Swedish ice church and building 8-string fiddles. Her unique poetic narrative is a humorous and moving context for this northern music. Through combining languages, Sarah creates a comprehensible multicultural dialect. Song, fiddle, willow flute and jaw harp are integral to the narrative and carry the current of her stories along.
tekstopia Oslo international poetry festival and Henie Onstad art centre will this year collaborate with the Internet service tekstopia which is a part of the research project Inventio at Department of Media and Communication at the University of Oslo. tekstopia combines literature to specific sites using location technology like the GPS-service on your mobile phone. With the use of a free down loadable plug in, the GPS will automatically connect with a database containing literature about places in Oslo. The audio texts will automatically be downloaded to your mobile when you are connected to the system, according to where you are at in the city. You can start your stroll in the city centre by listening to a reading of Sigbjørn Obstfelders description of the alienation of the city in his poem «Jeg ser». Proceed to the fortress where you listen to «På Akershus» by Henrik Ibsen. In the botanical garden you can listen to Victoria Kielland read her poem «Botanisk hage; arbore’t n3 (lat. nyd, av arbor ‘tre’) botanisk hage for studium av trær og busker». Proceed to the Tøyen park and listen to an extract from Amtmannens døtre by Camilla Collett. End your stroll at the shopping mall Oslo City while listening to one of the many poems by Simon Stranger. In this way tekstopia gives an unique opportunity to close listening, both to the particular poem and to the voice of the poet at the same time as the listener get a site specific experience. By these means the literature develops both a social and an activating potential through tying itself and the listener to the city. Listening to the literature becomes a multimedia socio-cultural activity. Oslo international poetry festival invites this years poets to contribute to the text universe of tekstopia. During the festival weekend texts attached to the various locations of the festival will be made accessible for the audience to down load on their mobile phones. Main locations for the collaboration will be Høvikodden and the surroundings of the House of literature, where large selection of poetry will be made available. Check out tekstopia on tekstopia.uio.no or textopia.org for the English version.