Press Release

Call & Responce at Veolia LTD. ES CHP Heat and Power Plant, Lewisham 2011

“If relational aesthetics and open source were always commercial, can the musical score provide a way of thinking through different relationships between creativity and code?” This is the question framed in the introduction of Simon Yuill’s All Problems of Notation Will Be Solved by the Masses, in which Yuill shows how collaboration through improvisation might bring us to a new type of knowledge production. The live actions of coders and musicians create outcomes that cannot necessarily be anticipated, and error and failure become key educational tools in the entire ontology of code, notational devices, language, social contracts, and transduction. Code born from contingency.

Code of Contingency explores whether sound — as a learning device – has the potential to open up new pedagogical frameworks. Taking its cue from the improvisational ethics of Cornelius Cardew, the dissipative systems theory of Isabelle Stengers, and the critical thinking pedagogy developed by Paul Freire, the show investigates process-oriented, anti-anticipatory learning through (and when) people engage with sound. Here, collaboration between object and viewer, teacher and student, performer and attendees are key for developing a pedagogical dialogue. As such, code does not play the role of a set of rules or parameters to guide the viewer’s interpretation, rather, it is a notational device used to make sense of knowledge production out of the show. Bearing this in mind, each artist has derived a workshop to enable this new form of knowledge production concerning: power relations, localized environmental impact, community and performance, public and private space and sound verses signal.

NEWS: TEXT: TEXTS

Project Texts

When Everything Moves:Toward a Code of Contingency

Project Texts: TEXT: TEXTS

Lucky Dragons’ Make a Baby

3rd, of June, 6-9pm with Opening to Follow
Starting with Lucky Dragons performance “make a baby”–in which audience members are invited to play music by touching one another, modulating a low voltage electrical network by passing signals across skin–we will look closely at ways in which one signal can be modulated to carry another signal, as well as the open forms created by playful collaboration. Each point of contact between participants becomes a variable resistor in the network, a point at which any subtle interaction produces a ripple of changes in the sound, the network becomes fragile and dynamic, able to change quickly and radically as the interaction between participants evolves through playing.
Bookings

Please e-mail Sarah Jury at info@codeofcontingency.co.uk to ensure we will have enough room for attendees.

WORKSHOP ONE

Power Relations

14th of June, 10-1pm
Call & Response (Nabil Ahmed, Jeremy Keenan, Matt Lewis) are a London-based sonic collective and curatorial platform for multi-channel sound art and other audio-based works in an immersive environment.
In response to ‘Code of Contingency’, C&R will create a generative multi-channel audio work using recordings from inside the SELCHP power plant, a major incineration plant located in South Bermondsey near the Agency Gallery. Data from the power output of the plant and power consumption of the gallery will be used to inform the resultant audio of the work at any given time. As such the work is a sonic representation of the energy consumed by the works in the show throughout its duration.
As part of their participation at Agency C&R will give an artist talk and workshop exploring environmental thinking, composition and media ecology with a focus on local sound issues and data sonification with special emphasis on multi-channel diffusion. Using the work as a discursive object, participants will think about strategies for creating an audio installation using field recordings exploring aleatoric, process and generative compositional techniques.
The workshop will begin with a visit to show at Agency Gallery. It is open to everyone including those interested in acoustic ecology, generative composition, environmental art and sound art.

Participants should bring their own laptops. If participants own recording devices, these should be brought as well.

Bookings

Please e-mail Sarah Jury at info@codeofcontingency.co.uk to reserve a place. A £20 suggested donation is requested to cover costs of materials; we will then e-mail you payment instructions. Please note places are limited to 12 and should be booked well in advance.

Participants should bring their own laptops. If participants own recording devices these should be brought as well.

www.codeofcontigency.co.uk

WORKSHOP TWO

Beginners Digital Electronics for Musicians

18th of June, 2- 6pm

Led by Tom Richards an experienced sound artist and musician, who has been making his own electronic instruments for the last ten years. Richards will lead a class for those interested in making sounds with hardwired electronics. Make your own oscillator and sequencer with the kit provided. Learn the fundamentals of digital electronics and take inspiration from other artists working with electronics. No experience necessary and you get to take the kit away with you to further experiment with. No soldering necessary at this stage, although a quick soldering lesson will be included. Compare notes and create an ad-hoc electronic symphony at the end of the class!

Bookings

Please e-mail Sarah Jury at info@codeofcontingency.co.uk to reserve a place. A £20 suggested donation is requested to cover costs of materials; we will then e-mail you payment instructions. Please note places are limited to 12 and should be booked by June 6th.

WORKSHOP THREE

Music, Signal, and Affect: A Discussion and Performance with Tomutonttu

24th of June, 5-8pm

In the final workshop for ‘Code of Contingency’, we will discuss the differences between approaching sound from a musicality to other possibilities with Tomutonttu (Jan Anderzen). Jan Anderzen is known for his ability to work in the in between spaces of sound.  His process hinges on an openness to collaborate, which is inherent to his evolving cast in Kemialliset Ystavat.Taking a cue from Cornelius Cardew, Anderzen will use both objects in the show as well as sourced Cardew graphic scores to create a collaboration between himself, the other artists, and the audience.
Attendees should bring instruments to participate in the workshop.

WORKSHOP FOUR