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Daisuke Ishida

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The SINE WAVE ORCHESTRA in fog
Yebisu International Festival for Art & Alternative Visions 2016 Garden in Movement
http://www.yebizo.com/#pg_off2
Date: 19th Feb 2016, Performance will take place for about one hour until sunset
Venue: Yebisu Garden Place, Center Square

The SINE WAVE ORCHESTRA with four screens
Yebisu International Festival for Art & Alternative Visions 2016 Garden in Movement
Garden in Movement – Live version
Date: Fri 19th Feb 2016 / 18:00-20:00(open 17:30)
Venue: The Garden Room
Guests: SjQ++, IRIE Yo + DOGANE Youji, FURUDATE Ken, The SINE WAVE ORCHESTRA

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SCAN Discussion Series: Sonic Interventions
http://sca-net.org/

SCAN Discussion
13th Feb 2016, 3:30PM – 5:30PM
at Peacock Visual Arts
with Daisuke Ishida, Maja Zeco and Dr. Robert Halsall

Daisuke Ishida is a Berlin based artist, working with sound and contemporary media. He teaches at Berlin University of the Arts. Together with Ken Furudate, Kazuhiro Jo and Mizuki Noguchi, he founded the Sine Wave Orchestra in 2002, which received an Honorary Mention in Digital Music category of the Prix ARS Electronica 2004. He will be Aberdeen to deliver the slowcooker workshop Cracks in the City which will bring an experimental artistic reflection to auditory everyday life in order to expand understanding of public space itself and its sounds with aesthetic qualities.

The fifth in the SCAN series will explore questions around the poetics of place taking inspiration from the Japanese pottery mending method Kinsugi (Gold joinery)

The discussion leads on from Daisuke Ishida’s contribution to the slowcooker workshop series which is inspired by the Japanese pottery mending. Rather than using invisible glues, as in the west, cracks and shards are restored with gold-filled lacquer to accentuate the gaps. Japanese aesthetics consider the value of pottery mended with this method to be higher than the original one, adding experienced history to the work. Ishida’s workshop transposes this concept of gain through object history to urban surroundings. A crack can be understood as a literal crack of a street or building, or a personal, historical or social disruption etc..

In response to this theme SCAN is delighted to invite Dr. Robert Halsall to speak on the poetics of place from the perspective of German philosophy offering a consideration of slowness as a way of being in the world that creates heightened perceptions of the qualities of mundane environments. His talk will intersect with two artist’s perspectives the subject. Daisuke Ishida will speak alongside Maja Zeco a visual and sound artist from Bosnia Herzegovina who is currently engaged in PhD research on Placing Sound: The Role of Aurality and Visuality In Locating Identities. After the discussion the audience is invited to stay for performances from both artists and slowcooker workshop participants.

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SLOWCOOKER SERIES 5
CRACK IN THE CITY
SONIC INTERVENTIONS

Workshop Information
Artist: Daisuke Ishida
Date: 12-13 February 2016
Time: 10:30 – 15:30
Place: Peacock Visual Arts
Number of participants: 10 to 12 participants. Particapants are expected to offer expertise in their own artistic practice.
Rate: £15 (standard) | £5 (concenssion)

Workshop Exhibition
Artists: Daisuke Ishida | Maja Zeco | Workshop Participants
Date: 13 February 2016
Time: 15:30 – 20:30
Place: Peacock Visual Arts
Exhibition details: Visit the Facebook event page for more information about the evening performance. This exhibition is free and open to the public.

Crack in the City is a project dedicated to creating sound installations/actions reflecting on public space. Urban everyday life induces and is surrounded by a multitude of different sounds, yet most of it we do not continuously acknowledge, it is tuned out and escapes consciousness. The project’s aim is to bring an experiential artistic reflection to our auditory everyday life in order to expand our understanding of public space itself and its sounds, with aesthetic qualities.

The project’s theme is inspired by the Japanese pottery mending method Kintsugi (golden joinery). Rather than using invisible glues, done so in the West, cracks and sherds are joined and restored with gold-filled lacquer to accentuate the gaps. Japanese aesthetics consider the value of pottery mended with this method to be higher than the original one, adding experienced history as well as a more interesting and beautiful landscape “Keshiki” (“scenery; scene; landscape” in Japanese) to the piece. This word is specifically used to describe the appreciated surface qualities of a piece of clay ware.

The Crack in the City, Aberdeen workshop transposes this concept of gain through object history to urban surroundings. A crack can be understood as a literal crack of a street or building, or a personal, historical or social disruption etc.. To explore the aesthetic means of repair we will attempt to conceptually restore or highlight the found gaps with sound, adding value to the urban landscape and hereby create a soundscape through the number of works altogether.

Workshop Details
This 2 day workshop will give participants the opportunity to define, find, comment on and ‘repair’ an urban crack of their choice, resulting in a performance or installation. The method of ‘mending’ is free to choose and the sounds used can be anything from computer generated to physically produced. If the weather allows for it we will install the pieces as public intervention in (in)appropriate places.

Day 1: We will start off with a short introduction to the concept and theoretical background, then a time for fieldwork to consciously experience the city of Aberdeen and finding points of personal interest, completed with a feedback and discussion round. Then the participants are free to develop and realise ideas and concepts alone or in groups. Because of the limited timespan available participants are encouraged to incorporate materials, methods and skills they are already comfortable with. Indoor loudspeakers are provided, all other tools and materials, especially computer and sounding objects should be brought along by the participants.

Day 2: The second day will give participants the chance to finish their pieces and present their works to the public. This exhibition is free and open to the public.

What participants need for the workshop
The participants will be required to bring:

a laptop
any sounding objects of their own
any materials they would like use for their intervention projects
their expertise in practical sense, like good at Max/Supercollider/Processing or any programming environments or instruments or sort that they are comfortable using for an immediate reaction.

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The Auditive Peculiarities of Khôra (2015)
25 – 27 Sep 2015
at Akademie der Künste Berlin
Hanseatenweg 10
10557 Berlin

The class Raumkomposition at master’s course Sound Studies, UdK will be showing the project “The Auditive Peculiarities of Khôra” in the festival Kontakte ’15 International Festival for Electronic Music and Sound Art
 at Akademie der Künste Berlin.

The Auditive Peculiarities of Khôra (2015)
The Auditive Peculiarities of Khôra is the project of the Raumkomposition class led by Daisuke Ishida and Thomas Koch at the master’s course Sound Studies, Berlin Career College, Berlin University of the Arts.
Khôra is an ancient Greek word coined by Plato as a term for space, receptacle or site. He proposed that Khôra is a space that holds no characteristics in itself and that cannot permanently contain anything but bodiless, ephemeral, time based media and which reflects the character of the medium passing through. Drawing an analogy between such media and sound, the project thematizes Khôra as an object of acoustic investigation.
Contradicting the common rules for the use of wave field synthesis[1] systems, the 14.5 meter long array of loudspeakers will be neither acoustically isolated from the surrounding space nor set up surrounding a listening area. Rather will it be used to deliberately articulate the space and emphasize the peculiarities and room acoustics of AdK’s ground floor area in an artistic manner.
Members of The Auditive Peculiarities of Khôra project (Natalia Bustamante, Daniel Franke, Stefan Matussek, Jesper Ryom Jensen, Joen Szmidt, Daisuke Ishida and Thomas Koch) develop strategies and methods for acoustically engaging the space.
[1] wave field synthesis
Wave field synthesis (WFS) is a spatial sound field reproduction technique that utilizes a high number of loudspeakers to create a virtual auditory scene over a large listening area. It overcomes some of the limitations of stereophonic reproduction techniques, like e. g. the sweet-spot.