The Book of Daughters Tour-Hangzhou

阿得粒 BUS

BUS到达POROUS NO. 9 请下车

日期/Date

2017年4月21日周五 April 21, Friday

时间/Time

21:00

地址/Address

Loopy
杭州市上城区中山南路77号313室
Room 313, Zhongshan South Road 77#

票务/Ticket

80元（预售）/ 100元（现场）

音乐人/artists

Adel-Jing Wang, Bai Mengwei, Charlotte Hug, Lisa MacKinney, Nat Grant, The Amplified Elephants,

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The Book of Daughters是由澳大利亚墨尔本的艺术机构JOLT Arts发起的，一次以女性实验音乐人为主的声音巡演，先后在墨尔本，日本东京，台北，杭州，香港进行。本次杭州的演出，除了来自墨尔本的音乐人Lisa MacKinney (噪音吉他，历史学博士), )-(u||!c|<（人声，吉他，钢琴，电子乐）, Nat Grant (打击乐，声音艺术), The Amplified Elephants (由澳洲富茨克雷艺术中心的身心障碍者组成的声音艺术交响乐团), 还邀请了本地音乐人，来自上海的白梦薇(实验音乐人/声音艺术实践者)，杭州的王婧(基于装置的实验声音表演，声音人类学者)，以及瑞士文化基金会驻留瑞士艺术家Charlotte Hug (人声，中提琴，视觉艺术). 澳洲国家广播公司ABC特别为The Book of Daughters作了特别采访报道：

ABC Classic FM Podcast of JOLT's THE BOOK OF DAUGHTERS Melbourne event, for INTERNATIONAL WOMEN'S DAY 2017.

http://www.abc.net.au/classic/content/2017/03/08/4631291.htm

想了解更多这次巡演信息，请点击 http://www.joltarts.org/

Porous是什么

Porous,一种多孔而疏松的结构。山、水、石、金、身体，正是这样多孔而疏松，灵魂和精神才可在其中生长、变形、逃逸、扩散。

Porous是由BUS和The Sound Lab于2015年8月发起，在杭州LOOPY(前身LINEOUT)发生的一个实验音乐、自由即兴音乐现场系列，以不规则频率发生。

音乐人介绍

Adel-Jing Wang (王婧)

声音研究者，人类学学者，声音作品实践者

王婧，致力于探索在景观化和娱乐化的表演平台上，朴素的声音作为一种性灵载体、一种记忆召唤媒介的可能性。当下，她关注“聆听”和“田野录音”作为一种声音的精神性、社会政治和文化实践。她的专著《声音与感受力：中国声音实践的人类学研究》（浙江大学出版社 2017），通过中国声音文化探讨三个核心概念自由、感受力与声音的关系。她的研究领域包括声音研究、感官研究和人类学方法。2014年8月，她与本地艺术家联合创立非营利民间组织BUS，致力于促成和推广实验和先锋艺术活动。2015年1月，她在浙江大学传媒与国际文化学院创立“声音实验室”，致力于培养跨学科声音实验与实践项目。她目前的艺术实践主要围绕田野录音。她是艺术小组A-SPhere的成员（王婧&邓悦君），A-Sphere 主要创作围绕声音装置，声音剧场和基于装置的声音表演，曾在上海MoCA Pavillion, 上海当代艺术博物馆，K11上海呈现。

王婧博士毕业于美国俄亥俄大学，目前任教于浙江大学传媒与国际文化学院。

个人网站 www.sonorouspresence.org

Adel-Jing Wang is a sound studies scholar, anthropologist and sound artist engaged in listening and field-recording as a metaphysical and spiritual, socio-political and cultural practice of sound. In live performance, she is interested in exploring the posibility of simple and raw sounds as a spiritual and aesthetic medium that evokes individual and collective memories. She is the author of Sound and Affect: An Anthropology of China’s Sound Practice, Zhejiang University, 2017 (in Chinese). The book explores the concepts of freedom, affect and sound through anthropological research on China’s sound culture. Her current research focuses on sound studies, sensory studies, performance studies, and anthropological methods. In August 2014, She co-founded BUS, a non-profit organization, curating and promoting experimental and cutting-edge art events and talks in Hangzhou. In January 2015, she founded The Sound Lab at College of Media and International Culture at Zhejiang University. Her current book project is entitled "Tenuous Resonance: China's Sound Practice and Ideas".

Artistically, She works primarily with field-recordings. She is a member of the art group A-Sphere (Adel-Jing Wang & Yuejun Deng), working with sound installations, theater and installation-based live performance. The group has presented their works at MoCA Pavilion Shanghai, Shanghai Power Station of Art, and K11 Shanghai.

Adel has a Ph.D from Ohio university. She is an associate professor at the School of Media and International Culture at Zhejiang University.

Her Personal website www.sonorouspresence.org

Bai Mengwei (白梦薇)

实验音乐人，声音艺术实践者

白梦薇，演出形式涉及多种乐器、硬件设备、原声声响。每一次演出都会有所不同，取决于最近什么成份在她的血液中占了上风。

Bai, experimental musician/sound art practitioner. Many forms are involved in her works such as various instruments, hardware noise and strange little sounds. Nobody knows what she will do in her next performance (even herself), which depends on what is flowing in her blood recently.

https://site.douban.com/morella/

Charlotte Hug

musician (viola & voice), composer, visual artist

photo from ©Michael Sieber

瑞士跨媒体艺术家Charlotte Hug 在上海与杭州的驻留时长为三个月。Charlotte Hug以“软弓”演奏技巧重塑了中提琴。她独创了结合小提琴和声乐的演出，融合高昂的假音、颤栗的喉音等多达8种声乐技法。她拓宽着乐器与声乐的边界，形成了独一无二的声音语言。除了绘画频繁在国际展出之外，Charlotte的“声音绘画”也得到国际认可，并作为演唱会乐手、独奏者、编曲家、指挥家活跃在欧洲、美洲、加拿大的各大国际音乐节舞台上。此次，Charlotte从欧洲带来装置长轴“音表——可视音乐”。作品近似于声音绘画，蕴含水土交融，日夜轮转，生死更替，抵达前人未涉的境界。

Charlotte Hug, the Swiss born inter-mediaartist, composer, improviser and musician of the extreme isconstantly pushing the boundaries of her instrument using her “soft bowtechnique” among other possibilities. She reinvented the viola. Herspeciality is also a blend of viola and vocals using high falsetto, vibratingglottal sounds, multiphonics and language like articulation. Hug seeks todevelop instrumental and vocal techniques to their fullest extent,whichhas resulted in an unmistakable and unique tonal language. Hug has recorded anextensive discography including three solo CDs, on international labels.

Alongside her activities as a visual artist ininternational exhibitions, Hug´s sound-drawings: “Son-Icons” have foundinternational recognition. Hug is also fully active as a concertperformer, soloist, composer & conductor of her own works at major festivalsin Europe, USA & Canada.

Hug´s innovative musical-visual soloperformances in distinctive locations and her interdisciplinary work havecreated an international furore. This musician of the extreme isconstantly breaking new ground with her instrument and has reinvented theviola. Hug´s speciality is a blend of viola and vocals, which has given rise toher hybrid voice and a distinctive tonal language. Hug has recorded anextensive discography including three solo CDs, on internationallabels.

Hug lives in Zurich and on the road. Havingcompleted her studies in fine arts and music, she received various awards andcomposition commissions. She has been “artist in residence” in London, Paris,Berlin, Cork capital of culture, Johannesburg and was “artiste étoile” at theLucerne Festival 2011.

In the visual arena, as well as in a musicalcontext, Hug´s sound-drawings: “Son-Icons” have found internationalrecognition. In addition to international exhibitions, she is also fully activeas a concert performer, soloist, composer and conductor of her own works and animproviser at major festivals in Europe, Africa, North America, Latin Americaand Canada. In spring 2017 Hug is artist in residence from Pro Helvetia inShanghai and Hangzhou. This is Hugs fist appearance in China. www.charlottehug.ch

“Sonic landscapes…beyond imagination.”

- FREDERICK MARONGIS - MUSIC EXTREME BUENOS AIRES

“The range of sound and emotion at Hug’s disposal is operatic - this one represents Hug as a highly accomplished one-woman ensemble.”

- BILL MEYER - DUSTEDMAGAZIE- CHICAGO

“Charlotte Hug, a viola-player who applied much the same vigorously energy to the fiddle that Ornette Coleman once did”

- Q MAGAZINE

“With her viola and her beautiful siren’s voice, Hug unfolds riches of invention, sensuality, and wordless storytelling skills. “Anderwelten” vividly evokes marine soundscapes to the point where I started doubting that it was indeed performed without any electronics (yet it’s true). This is a mature work by an accomplished artist with astounding free improvising skills.”

- FRACOIS COUTURE - MR. DELIRE - ALL MUSIC GUIDE

"Charlotte Hug is a brilliant violist, improviser and performer who uses such idiosyncratic inventions as the soft bow'. The music grows out of a dialogue between the visual and the acoustic."

- JOHN PITT - NEW CLASSICS

SOLO AT BERLINER FESTSPIELE 2013

https://www.youtube.com/watch?v=HdMNriUVXxs

SIYABA: Found Among Translations South Africa 2015

http://youtu.be/IvYMJgKlBh8

NACHTPLASMEN for orchestra and video-score at Lucerne Festival

http://www.youtube.com/watch?v=a4Lg2QO0Euw

HETERO TOPOS new composition for string quintet, voice and Son-Icons in a room-score 2015 https://youtu.be/sZvFhstQYmQ

Lisa MacKinney

Lisa MacKinney在澳大利亚声音文化中是一位非常重要的噪音吉他演奏者和历史学家。她和OllieOlsen（合成器）and Mat Watson（鼓手）组成了噪音/电子乐队TaipanTiger Girls。2015年2月，她们在厂牌It Records上发行了第一张专辑《1》，该专辑是她们即兴演奏的记录。这张专辑只限量发行了100张黑胶唱片，并且在一周内售罄。同时，该专辑还有CD版本提供下载。The Music高度评价她们的这张专辑，“她们极力推崇的声音就像魔鬼声一般致人迷幻与催眠。”杂志Bob Fish of CyclicDefrost这样描述她们的作品：“运动”，“构筑了一道冗长而美丽的噪音之墙，错综复杂且致人迷幻；精致易碎又坚韧有力。” TaipanTiger Girls的第二张专辑《2》于2016年8月发行在It Records上。《2》由Kalju Tonuma混音并在PBS FM获得最有特色的专辑冠军。Lisa 的个人吉他/风琴噪音项目名为“Mystic Eyes”，该创作成为了AdamSpellicy导演的电影Mystic Eyes（2009）的主题音乐，同时亦成为Lisa 探索“对单调音的建设性使用”这一理念的重要渠道。作为一名历史学家，她的学术背景基于中世纪晚期，集中探讨14、15世纪英国和西欧宗教艺术、宗教实践和神秘主义三者之间的关系。

Lisa MacKinney has been a leading noise guitarist and historian in Australian sound culture. MacKinney is one third of noise/electronic band Taipan Tiger Girls with Ollie Olsen (synths) and Mat Watson (drums). They released their debut album, 1, in February 2015 on It Records, an improvised live recording. The release was a limited edition of 100 vinyl LPs which sold out in a week, and was also released on CD and download. TheMusic rated it highly, saying "Their highly recommended sound is a monster kosmische grind that writhes and hypnotises". Bob Fish of Cyclic Defrost Magazine described their track, "Motion" and how they "make long and beautiful walls of noise, intricate and psychedelic; delicate and tough." The follow-up Taipan Tiger Girls album "2", was released in August 2016, also on It Records. "2" was recorded and mixed by Kalju Tonuma and received No. 1 Feature Record at PBS FM.

Lisa’s solo guitar/organ noise project is Mystic Eyes, which was the became the subject of the film Mystic Eyes (2009) by Adam Spellicy, and which continues as a conduit for Lisa exploration of ‘constructive use of monotony’. As a historian Lisa wrote a PhD on the Shangri-Las. Her academic background is situated in late medieval history, and has focussed on the relationship between devotional art, religious practice, and mysticism in England and Western Europe from 1300-1500.

http://vimeo.com/31012562

http://vimeo.com/97229837

https://www.youtube.com/watch?v=Y5sGr8H5mkE

Nat Grant

Percussionist and Sound Artist

Nat Grant是一位来自墨尔本的多器乐演奏者、声音艺术家、作曲家和教师。作为一名自由艺术家，她曾以作曲家、表演者的身份在木偶戏、剧场、电影、卡通剧和舞蹈领域工作。Nat的作品致力于发掘即兴创作、舞蹈和声音作为雕塑媒介之间的联系。通过电子合成、原声器乐采样和声音录制，她的声音作品使意识和记忆相连，使人与自然、表演者和听众产生紧密的互动。

Nat在墨尔本大学维多利亚学院艺术学院获得了音乐作曲的博士学位。该学位的主题是Momentum，即通过积累式录音、综合博客和线上声音日记的进行的作曲创作。她在2012年至2013年中的400天内进行了田野录音，并将素材整合成为简短而又相互衔接的作品，每天在网上发布。通过这种方式，她试图通过一种非常公共的方式更深入地探索作曲过程和捕获时空的过程。Momentum 通过全球60名艺术家协作，共同创造声音作品。Momentum曾以装置作品的形式在澳大利亚、美国和新西兰的艺术馆内展览。作为作曲家，Nat曾创作过室内音乐，持续式声音艺术作品，也曾为剧场、舞蹈、电影和现场艺术创作过声音作品，包括与ITCH、JonathanHomsey和The Stain的合作。

Nat Grant is a multi-instrumentalist, sound artist, composer and teacher from Melbourne, Australia. She works predominantly as a freelance artist and has been employed as a composer and performer in the fields of puppetry, theatre, film, animation, and dance. Nat’s work explores intersections between improvisation, chance and intention in the development of sound as a sculptural medium. Through the integration of electronic processing and sampling with acoustic instruments and sound recordings, she creates cumulative sound works that link consciousness and memory, allowing interaction between human and natural environments, and between audiences and performers.

Nat holds a PhD in music composition from the Victorian College of the Arts (University of Melbourne). The subject of this degree was Momentum, a cumulative recording and composition project incorporating a blog and online sound diary. Momentum utilised field recordings made over 400 days in 2012-13, sculpted into short, connected compositions and posted online each day to delve deeper into compositional processes and the capturing of time and place through sound in a very public way. Momentumwas created collaboratively, with more than 60 artists from around the world contributing sounds to the project. Momentum has been exhibited as an installation in galleries around Australia as well as in the US and New Zealand.

As a composer Nat has created original chamber music, durational sound art works, and composed and created sound design for theatre, dance, film, and live art, including for ITCH Productions, Jonathan Homsey Productions and The Stain.

Previous compositions for other artists include the work 'Cocoon', commissioned by the 3 Shades Black ensemble in 2012, for chamber ensemble with digital integration, a solo vibraphone work with digital accompaniment, 'With the Inside Where the Outside Should Be', for Erica Rasmussen, composed and premiered in 2014, and ‘Eclipse’, a chamber work commissioned for a series of interactive painting performances in Melbourne in 2014. The solo vibraphone work was subsequently performed at the New York City Electroacoustic Music Festival in 2015.

As a teaching artist Nat has been involved in projects with a number of community groups including the Asylum Seeker Resource Centre, Footscray Community Arts Centre, and Barking Spider Visual Theatre.

Nat performs regularly at venues around Melbourne and has also performed internationally, at the Percussive Arts Society’s Annual Convention in Indianapolis in 2011, and the Y2K International Live Looping Festival in Santa Cruz, California, in 2009 and 2011. She has released several solo recordings as well as with a number of local and international bands and artists including bassist Steve Uccello from California, Welsh guitarist David Cooper Orton, composers David Shea, James Hullick and James Rushford, Lapsteel artist Chris Rainier, Melbourne Afrobeat band Papa Chango and electro pop artist Emah Fox. Collaboration is key to much of Nat’s work, including previous and current partnerships with Speak Percussion, Jolt Arts and the Amplified Elephants, animator Christie Anditama, experimental filmmaker Dirk DeBruyn, and Adam Simmons’ Creative Music Ensemble.

The Amplified Elephants

Sound Art Ensemble

The Amplified Elephants 的成员有: Robyn McGrath，Liz Hofbauer，DanielMunnery，Chelsea Backman，DanielDoherty，Jay Euesden，MeganHunter，Teagan Connor，HelenKruljac，Kathryn Sutherland，SarahEllis 和Steven Tran. The Amplified Elephants的女性成员都为The Book of Daughters项目进行表演。2006年，The Amplified Elephants在Footscray Community Arts Centre (FCAC) 和JOLT的推动下成立，当时该组合是FCAC上艺术生活项目的一部分。2015年，The Amplified Elephants在联邦广场表演了La La Lullaby（Lights in Winter Festival）。同年，她们在本迪戈、东京、香港、澳门都与JOLT合作表演了作品 SELECT NATURALIS。

The Amplified Elephants are:

Robyn McGrath, Liz Hofbauer, Daniel Munnery, Chelsea Backman, Daniel Doherty, Jay Euesden, Megan Hunter, Teagan Connor, Helen Kruljac, Kathryn Sutherland, Sarah Ellis and Steven Tran. The women of The Amplified Elephants are performing for The Book of Daughters. The Amplified Elephants are an ensemble produced by Footscray Community Arts Centre (FCAC) and JOLT since 2006 as part of the ArtLife program at FCAC.

In 2015, The Amplified Elephants performed in La La Lullaby at Federation Square (Lights in Winter Festival) and SELECT NATURALIS at Bendigo International Festival of Exploratory Music, as well as touring Tokyo, Hong Kong and Macau with JOLT. In partnership with JOLT, many Elephants’ projects have been presented internationally and in prominent Australian venues. Since 2007 these projects have been increasingly ambitious in scale, often featuring sonic technology: EXTREMITIES (Japan 2012); SHADOW TALES (with RAWCUS, Melbourne Festival 2013); MachiNATIONS International Tour (London, Edinburgh, Tokyo 2014); RE:EVOLITION (Melbourne Festival 2014); SELECT NATURALIS (Bendigo International Festival of Exploratory Music 2015); LA LA LULLABY (with Richie Allen and Pippa Wilison at Federation Square 2015); SELF SEEKERS (JOLT Tour 2015).

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Voice, Guitar, Piano, Electronics

Set yourself free and venture into the wilds of the auditory outer reaches: there you will find James Hullick enraptured in the silver of white noise.

James的作品通过非寻常方式，以声音为媒介参与社会问题的探索。他的作品显现出独特而形式多样的审美，包括新哥特主义等。他的声音作品曾在亚洲、北美和欧洲等多地展出。通常，他的作品采用交响乐、电子乐和装置形式呈现。James的许多作品都走在了声音艺术的最前线。自2005年起，James与The Amplified Elephants作为一个团体共同创作声音作品。

James’ auditory creation practice is wide ranging. His arts career began in the form of solo pianist, vocalist and composer. He was taught by Felix Werder (Australia/Germany), James Tenney (USA) Warren Burt (Australia/USA) and briefly by Liza Lim (Australia). As a young man he attended the Stockhausen Summer Classes and undertook a short informal residency at Luciano Berio’s Tempo Reale Studio in Florence. After spending his late teens and early 20s focusing on the study of composition and music making, he then branched out into electronic sound making in his mid to late 20s before adding sound sculpture, installation art and music making machinery to his creative activities in his early 30s.

James’ work is characterised by an unusual ability to use sound to engage in social issues, and an unusual versatility of aesthetic, which ranges from neo-Gothicism to more austere classically principled process-based perceptual works. His sonic works have been performed, exhibited and presented in Asia, North America and Europe for a variety of ensembles, electronic formats and installation formats. A number of James’ projects have been at the fore-front of sonic art; real time scores (scores that update in real time via a computer), sk-eye like mind (2007), The NIS (2009); sound making machines The Gotholin (2007), Swarmlings (2010); community arts projects The Click Clack Project (2010), to name just a few of the sonic terrains that James continues to embrace.

James has been working with The Amplified Elephants an ensemble for sound makers with intellectual disabilities since 2005. The Amplified Elephants, who according to one The Age review “taught us all how to listen”, are based at the Footscray Community Arts Centre, where James’ work within communities was first supported.

In 2002 James formed the BOLT Ensemble, a chamber ensemble that performs his work and is engaged in projects that James artistically directs. In 2008 James founded JOLT Sonic Arts Inc, an organisation dedicated to creating and presenting new cutting edge works. In 2009 JOLT and the Footscray Community Arts Centre co-presented THE NIS – a large multimedia sonic art event combining artists from a range of communities. This project marked a maturation in Hullick’s capacity to deliver large-scale events at high artistic and management levels. It also led to the formation of The Click Clack Project, a JOLT project that develops new work and presents events with artists emerging from various communities. Since that time JOLT has presented JOLT festivals and tours in the UK, Europe and Asia, which have been collaboratively directed by James and international curators.

James has completed a three-year Postdoctoral Fellowship (2012-2015) at the University of Melbourne. He was awarded an Australia Council Fellowship (2015) and received the Michael Kieran Harvey Piano Scholarship (2015-16). He is currently a Visiting Fellow, RMIT University.

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