siobhan leddy

siobhan leddy https://siobhanleddy.com siobhan leddy Mon, 05 Jun 2023 14:34:04 +0000 https://siobhanleddy.com en Home Image https://siobhanleddy.com/Home-Image Fri, 08 Oct 2021 09:06:53 +0000 siobhan leddy https://siobhanleddy.com/Home-Image <img width="1138" height="1284" width_o="1138" height_o="1284" data-src="https://freight.cargo.site/t/original/i/23decbcf011973425c177cf79b09972350865ded61d5da681fa4a6e4ea82b0a2/Screenshot-2022-07-14-at-19.54.29.png" data-mid="147880378" border="0" src="https://freight.cargo.site/w/1000/i/23decbcf011973425c177cf79b09972350865ded61d5da681fa4a6e4ea82b0a2/Screenshot-2022-07-14-at-19.54.29.png" /> Media, Matter, Method https://siobhanleddy.com/Media-Matter-Method Fri, 08 Oct 2021 09:06:54 +0000 siobhan leddy https://siobhanleddy.com/Media-Matter-Method Media, Matter, Method Experiments in communication / summer 2022 M.A. Kultur- und Medienmanagement, Institut für Theaterwissenschaft, Freie Universität             This MA seminar explores more-than-human communication as a material, sensory and embodied practice. Taking an expansive and interdisciplinary approach to communication, we will ask questions such as: how are narratives transmitted through time and space? How is our sensory attention attuned to different phenomena? How are humans and nonhumans entangled with one another? How does matter and material ‘speak’? In this approach, we aim to exceed the technocratic limitations of media. We work with a wide range of materials, including film, artistic research, found sound, critical theory and games. So, too, will we draw upon a range of artists, authors and theorists, such as Ursula Le Guin, Anna Tsing, Edouard Glissant, Akram Zaatari, Tuan Andrew Nguyen, Elizabeth Povinelli and others. <img width="918" height="1220" width_o="918" height_o="1220" data-src="https://freight.cargo.site/t/original/i/03ace966d4001f1bd927b62c6a6030e5aeba0a24286d9b0bcf14f2ca28f1fabc/Screenshot-2022-07-14-at-19.16.28.png" data-mid="147877169" border="0" src="https://freight.cargo.site/w/918/i/03ace966d4001f1bd927b62c6a6030e5aeba0a24286d9b0bcf14f2ca28f1fabc/Screenshot-2022-07-14-at-19.16.28.png" /> Making Publics https://siobhanleddy.com/Making-Publics Fri, 08 Oct 2021 09:06:55 +0000 siobhan leddy https://siobhanleddy.com/Making-Publics Making Publics   Summer semester 2021 Seminar for Culture and Media Management, Freie Universität Berlin             This MA seminar blends theory and practice to explore publishing as an expansive, playful and radical pursuit. We begin on the premise that publishing — both as the act of making something public and creating new publics — can develop alternative relations, sensory experiences, and modes of attention. Making Public(s) examines a wide range of publishing and media practices. During practical workshops, you will learn how to create simple publishing platforms, develop closed communication networks through newsletters, and use free software for basic sound and/or video editing. You will be encouraged to relate these media experiments to supporting texts and materials from a variety of disciplines, including science fiction, art/visual cultures, gender studies, media studies, philosophy and literature. By the end of the semester, you will have produced a complete digital publication together as a group, featuring your own individual contributions. CONTRA-CONTENT https://siobhanleddy.com/CONTRA-CONTENT Fri, 08 Oct 2021 09:06:55 +0000 siobhan leddy https://siobhanleddy.com/CONTRA-CONTENT CONTRA-CONTENT Winter semester, 2020-21 Seminar for Culture and Media Management, Freie Universität Berlin             Over 14 x 2 hour sessions, the class functioned as ‘cultural strategists’, using digital media to create, disseminate and disrupt cultural knowledge. This MA seminar brings together theory and practice to examine digital communications and publishing in their most expanded form — as a deeply social, (para)networked and experimental practice. Digital self-publishing allows artists, curators and cultural producers to side-step traditional cultural infrastructure. In these workshops, this is understood as a processual and collaborative practice shaped by its constituent technologies — as well as a methodology for thinking together. Over the sessions, we will begin to build a practical framework for material convergence, self-instituting, alternative epistemologies, and community entanglement(s). <img width="1588" height="894" width_o="1588" height_o="894" data-src="https://freight.cargo.site/t/original/i/15f06f387ce68c4056b8d0f8b65ab25f7a829690a111198508c0b995e4603d16/Screenshot-2022-07-14-at-19.25.01.png" data-mid="147877797" border="0" src="https://freight.cargo.site/w/1000/i/15f06f387ce68c4056b8d0f8b65ab25f7a829690a111198508c0b995e4603d16/Screenshot-2022-07-14-at-19.25.01.png" /> From Zach Blas’ Contra-Internet/Jubilee 2033 (2018) c.250 Hz https://siobhanleddy.com/c-250-Hz Thu, 14 Jul 2022 17:30:24 +0000 siobhan leddy https://siobhanleddy.com/c-250-Hz c. 250 Hz <img width="1200" height="446" width_o="1200" height_o="446" data-src="https://freight.cargo.site/t/original/i/9a385b1fb51d027b1a2b5927d7419352da4e9fbbfdc8df5604b5a9bc90f8d588/250Hz-edit.jpg" data-mid="147878430" border="0" src="https://freight.cargo.site/w/1000/i/9a385b1fb51d027b1a2b5927d7419352da4e9fbbfdc8df5604b5a9bc90f8d588/250Hz-edit.jpg" /> Summer 2021, produced in collaboration with beekeeper Lisa Ertl and a colony of honey bees Floating University, Berlin             Is it possible to cultivate a more-than-human sensory practice? Could certain modes of sensing better attune us to environmental change and species loss, perhaps even fostering more response-able relations with nonhuman entities? Building on these questions, c. 250 Hz is an experiment in more-than-human listening and the limits of translation. Working with a bee colony located at Floating University, c. 250 Hz uses technology to translate vibrational bee communication into a human sensory threshold. Contact microphones pick up vibrations from inside the beehive, which are then transduced into various surfaces around the site, enabling human visitors a chance to feel these signals through touch and physical contact.         Since bees cannot hear airborne sounds, they instead practise ‘non-cochlear listening’ with their bodies. As part of their communication process, bees use their bodies to create vibrations in the material of the hive, which are sensed and then responded to by other bees. c. 250 Hz operates in a similar way, imperfectly translating the bees’ ‘sonic messages’ from the hive’s substrate and into that of Floating University, to be encountered with and through the human visitor’s body. cannibals lovers both neither https://siobhanleddy.com/cannibals-lovers-both-neither Thu, 14 Jul 2022 17:34:29 +0000 siobhan leddy https://siobhanleddy.com/cannibals-lovers-both-neither cannibals lovers both neither <img width="1200" height="444" width_o="1200" height_o="444" data-src="https://freight.cargo.site/t/original/i/5c2c6a1e7aae4bf305879c7290d1e92fb906b0a697850f52b78a88e286dc4e1a/cannibals-1200-web.png" data-mid="147879104" border="0" src="https://freight.cargo.site/w/1000/i/5c2c6a1e7aae4bf305879c7290d1e92fb906b0a697850f52b78a88e286dc4e1a/cannibals-1200-web.png" /> Produced in collaboration with sound designer Benjamin Yates Im Grünen Bereich, Berlin, 2020 & Het Nieuwe Instituut, Rotterdam, 2021            This artistic research project, culminating in an installation and short film, explores the mythology and non-verbal communication of tardigrades. These microscopic creatures have survived five mass extinctions, volcanoes, ice — even outer space. What could we learn from them as we begin to face climate collapse? How can we communicate with such an otherworldly creature? Here humans and tardigrades collide through a generative, ever-changing sound and video installation.         Through visual-to-audio mapping, the wriggling choreography of tardigrades (as seen through a microscope) is translated into an immersive soundscape. Likewise, the movement of human bodies in the exhibition space is also be mapped into sound: played together this becomes a multispecies symphony. The work will also feature video microscopy of the artist’s own tardigrade cultures and an original poem adapted from Ovid’s Metamorphosis. The work is a live experiment into what has been called “mimetic communication” by theorist Anna Gibbs. Non-verbal communication exists through contagion effects, in which messages are currents that pass through and affect bodies and matter. In cannibals lovers both neither, technology acts as mediator — enabling affective translation of moving bodies into sound, which are then translated back into (human) bodies. Mineralia https://siobhanleddy.com/Mineralia Thu, 14 Jul 2022 17:36:46 +0000 siobhan leddy https://siobhanleddy.com/Mineralia Mineralia <img width="1200" height="326" width_o="1200" height_o="326" data-src="https://freight.cargo.site/t/original/i/d8495fcc9aa2c33d10ef1f7a4f3a176acc894e8ea72bb24a450e93fd8e2b0fda/mineralia-web-copy.jpg" data-mid="147879171" border="0" src="https://freight.cargo.site/w/1000/i/d8495fcc9aa2c33d10ef1f7a4f3a176acc894e8ea72bb24a450e93fd8e2b0fda/mineralia-web-copy.jpg" /> Centre for Research Architecture/Natural History Museum, London, 2015            Mineralia is an audio accompaniment to the Natural History Museum’s mineral collection. This collaboratively composed sound work mimics and subverts the museum audio guide format in order to explore alternative ways of interacting with the display. Using the intimacy of a textured acoustic experience Mineralia gives space to the histories and politics of display, specific to the Natural History Museum, which have somehow escaped representation. The specimens on display in the mineral collection construct a geological history; the curated minerals present us with an archive that organises nature and science. In their vitrines the minerals lie motionless, dormant and quiet, yet held within are multiple histories and associations. How do we make audible the stories that are not present in these cabinets?         In the guise of a museum audio guide, Mineralia considers these spaces of silence to excavate the gallery’s unheard histories and stories. Working across documentary and field recording, together the audio tracks summon stories untold, present unfamiliar histories and create an alternative space of listening. A collaborative project with Stine Alling Jacobsen, Amelie Buchinger, Marco Dell’Oca, Phoebe Eustance, Eldar Gantz, Jess Gough, Hania Halabi, Thomas Jenkins, Susannah Jones, Yasemin Keskintepe, Siobhan Leddy, Ion Maleas, Pietro Pezzani, Grace Philips, Laurie Robins, Savitri Sastrawan, Sarah Shattock, Sam Stork, Alexandra Symons Sutcliffe. Algorhythms https://siobhanleddy.com/Algorhythms Thu, 14 Jul 2022 17:38:41 +0000 siobhan leddy https://siobhanleddy.com/Algorhythms Algorhythms <img width="1200" height="445" width_o="1200" height_o="445" data-src="https://freight.cargo.site/t/original/i/b935b7a54617febb5f9e38ae2c5462fb9ff5052d057cdc037e43685a687c139f/algorhythms-web.jpg" data-mid="147879400" border="0" src="https://freight.cargo.site/w/1000/i/b935b7a54617febb5f9e38ae2c5462fb9ff5052d057cdc037e43685a687c139f/algorhythms-web.jpg" /> 2015            Algorithms, unlike other mathematical abstractions, operate in time. The temporality of the algorithm means that it is also an algorhythym, a musical pattern that travels over time. In this musical performance lecture, which later became a zine and EP, the algorithm is appropriated from the realm of high-frequency financial trading (HFT) and capital, and into the realm of sound and play.         Algorithms, among other things, often decide the fate of the stock market, together constituting the ‘abstract machine’ of capital. High frequency trading (HFT) through algorithms has, for the most part, now replaced the bodily semaphore of the stock exchange floor. Trades that used to take human traders around 12 seconds are now complete in a matter of milliseconds. These speeds are, quite literally, unthinkable, yet millions of dollars are spent each year to make transactions faster still. In this world beyond our perception, fractions of a millisecond can make or break fortunes. Through speed and opacity, these algorithms disappear from view. Algo-rhythms is a speculative act of algorithmic appropriation.         After a brief introduction to HFT, generative music performed via ixi lang and Supercollider posits a different kind of relation to the algorithm. In contrast to the ‘black box’ of financial algorithms, the code here is visible, its results are audible. In this way, the algorithm becomes a site of potential jouissance. Impressum https://siobhanleddy.com/Impressum Mon, 05 Jun 2023 14:34:04 +0000 siobhan leddy https://siobhanleddy.com/Impressum