MOOD SWINGS – On Mood Politics, Sentiment Data, Market Sentiments and Other Sentiment Agencies
Exhibition in the frei_raum Q21 exhibition space
Opening: Thu, Mar 30, 19:00
Press Tour: Wed, Mar 29, 10:00
Venue: frei_raum Q21 exhibition space
Photos of the Opening
It is moods rather than facts that are determining perceptions, decisions and courses of action to an ever greater degree. Mood data, in turn is a sought-after subject for analysis; emotions are being quantified and simulated. The exhibition “Mood Swings – On mood politics, sentiment data, market sentiments and other sentiment agencies”, curated by Sabine Winkler, focuses on the significance and radius of sentiment in politics, economy, technology, media and art.
In our post-factual age, realities are increasingly generated through moods. “Mood Swings” investigates the domain of influence that moods have, especially in relation to socio-political upheavals that we are witnessing at the moment. As complexity increases, so too the difficulty of understanding political, financial and technological processes, along with the paradoxes associated with them. Orchestrations are perceived as authentic, data evaluations presented as fact, financial interests accepted as policy-steering necessity, “social” media misinterpreted as social.
The show therefore addresses the question of how and why moods are analysed, generated and exploited, to what purpose, and how moods assume autonomy in networks and can themselves become actors. On the one hand, electoral, investment and purchasing behaviour are influenced by moods, with social media channels often acting as amplifiers. On the other hand, emotions are being quantified for data mining and affective computing processes in order to evaluate emotional reactions for economic, marketing strategy or criminological purposes, or to make computers/robots more emotional.
The artistic works shown in the exhibition address manipulative techniques of ideological mood politics, and deal with the emotionally charged struggle for definition authority between reality and fiction, analyse the influence and impact of moods on financial markets, or confront technological developments that exert a direct or indirect influence on human behaviour, concepts and social relationships through emotional analysis. With the revival of authoritarian structures, mood analysis can be understood as a form of ideological critique, a way of countering this development.
In her installation “The Boys Are Back”, Christina Werner focuses on right-wing European networks and their pop-cultural media presence. She analyses contradictions, analogies, gestures and orchestrations of right-wing populist politicians in media appearances, investigating campaign elements and media strategies through which moods and fears of loss are generated, and ressentiment stoked.
Using six actors, Barbora Kleinhamplová staged an NLP (neuro-linguistic programming) course to which managers were invited without being informed of the staged nature of the event. Here it was above all the irrational and esoteric aspects of manipulative techniques – which are sold as promising business strategies – that were presented and deconstructed. Barbora Kleinhamplová investigates both rational and irrational interference in the economy and in art, examining manipulative and economic influences in both systems.
In her works “A timeframe of one second is a lifetime of trading I, II”, Femke Herregraven explores the specific names given to different trading algorithms to depict high-frequency trading processes as graphic profiles and patterns. In so doing she points to emotional, cultural and symbolic reference and abstraction processes in finance and culture. In concrete terms, Femke Herregraven is referring here to the 2010 “Flash Crash”, when the Dow Jones Industrial Average Index lost more than 1000 points within a few minutes. This crash was triggered by the fraudulent use of automated cancellation of purchase agreements. Share indexes react like seismographs to symptoms of change, moods, movements, etc., to then once again generate profit from precisely these gaps in sentiment.
In his video and photographic work, Florian Göttke is concerned with analysing the politics of image in the context of the Syrian war. He investigates how images are used in media and social media, how emotions are evoked through photographs, how visibility demands reactions and responsibility. Florian Göttke is interested in the relationship between action and image in the context of media and social media, the way moods are channelled and how moods can be activated through the politics of image.
In 2004 Nir Nadler stayed in Beelitz/Brandenburg, as part of his participation in the EEA (European Exchange Academy) program. During that period local elections took place, and the campaign posters spread across public spaces inspired him to launch his own electoral campaign, as the fictional candidate Norbert Nadler. He staged Norbert Nadler as a politician devoid of ideology who instead adapts to the mood of his environment and represents an “empty signifier” which precisely because of its indeterminacy functions as a projection surface for all manner of frustrated hopes.
For the exhibition Hertog Nadler created a new piece to correspond with the current political climate of 2017, (more than ten years after the Stimmt campaign in Germany). The work Read „My Lips“ is a jukebox politician, press play, and he’ll dance to the ideology of your choice.
Xavier Cha investigates the impact of digital image communications on our emotional perception and behaviour. In a laboratory situation she shows a range of emotional test subjects whose faces register emotional impulses in quick succession – anger, joy, grief, mania, disgust, surprise and shock. However, the triggers for these emotional perceptions remain unclear. The lack of context and the rapid succession of mood shifts makes it impossible for the viewer to identify with the emotional states of the actors. Representations of emotions and moods without reference and context thus resembles emoticons.
For his work „Emobot“, Antoine Catala transferred expressions and their associated feelings from an 11-year-old boy to a Telenoid robot. The emotional states of „Emobot“ shift between anxiety, despair, inner calm, emptiness, etc., occasionally grimacing in a way that defies categorisation, breaking the smooth surface and making it seem at once vulnerable and eerie. It is these moments of insecurity and vulnerability which, in conjunction with the child’s voice, create the impression of a certain kind of humanity, but this humanity soon turns uncanny. In the future, will we outsource unwanted or secret emotions to emobots, for them to attain independence or be put on file in a Bad Bank? How will emotional simulations generated by algorithms alter our perception of feelings and/or empathetic behaviour?
In her video installation “Follow the Path”, Bego M. Santiago shows men and women dressed in white swimming in groups on their own or in pairs. The swimming arrangement changes from a loose framework into a complex network-like structure. Bego M. Santiago is interested in the relations of the individual to the community and how certain triggers can cause emotional infection (meme theory) and how patterns of behaviour can form in social networks. If the status of the subject follows from the status of the user, then assigned subject positions become assigned user positions, which in turn can be mistaken for our own.
In his installative work “PROTEST”, Tom Molloy shows prints of cut-out figures from online media on an eight-metre long shelf. The work reflects the desire to position oneself in the public realm, to be visible as an actor, and addresses such issues as the emotional relationship between subject and society, from performative orchestration to linguistic representation.
Curator: Sabine Winkler
Antoine Catala (FRA)*, Xavier Cha (USA), Florian Göttke (GER/NLD), Femke Herregraven (NLD), Hertog Nadler (NLD/ISR)*, Micah Hesse (USA)*, Francis Hunger (GER), Scott Kildall (USA), Barbora Kleinhamplová (CZE), Tom Molloy (IRL), Barbara Musil (AUT), Bego M. Santiago (ESP)*, Ruben van de Ven (NLD)*, Christina Werner (AUT)
„Mood Swings“ is organized in cooperation with the Austrian Federal Ministry for Europe, Integration and Foreign Affairs and other partners from Austria and abroad.
Image: Hertog Nadler: Stimmt. Photograph, detail from the newspaper The Monograph, 2006. © Hertog Nadler #MoodSwings
www.q21.at/en/frei-raumMar 31 to May 28, Tue-Sun 13-20:00
frei_raum Q21 exhibition space less
Pauline Oliveros: Sonic Meditations
as part of the Phonofemme Festival 2017
As part of the Phonofemme Festival, Pauline Oliveros' "Sonic Meditations" will be performed by Maria Chavez (PE/US), Maia Urstad (NO), Doug Van Nort (US/CA), Ingrid Plum (UK), Zahra Mani (AT/UK) Meriheini Luoto und Covered by Forest (FI), Paul Miller aka DJ Spooky (US), sowie Kristine Tjogersen (NO) und das Quartett Tøyen Fil og Klafferi (NO).
Pauline Oliveros Biography:
Pauline Oliveros (b. 1932) in Houston, Texas, is a composer, performer, humanitarian and an important pioneer in American music. Acclaimed internationally, for four decades she has explored sound, forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching, and meditation she has created a body of work with such breadth of vision that it profoundly affects those who experience it and eludes many who try to write about it.
Oliveros has been honored with awards, grants, and concerts internationally, including the SEAMUS (Society for Electro-Acoustic Music in the US) Award for Lifetime Achievement, 1999; ASCAP Standard Award, 1982-98; and NEA fellowships in 1990, 1988, and 1984. She has performed in the world's most prestigious venues, ranging from the John F. Kennedy Center in Washington D.C. to the studios of the West German Radio. Through her Deep Listening Pieces and earlier Sonic Meditations (1971), Oliveros helped introduce the concept of incorporating all environmental sounds into musical performance. This requires focused concentration, skilled musicianship. and strong improvisational skills, which are the hallmarks of Oliveros' form.
She has also provided leadership within the music community from her early years as the first director of the Center for Contemporary Music at Mills College in 1966, to becoming director of the Center for Music Experiment during her fourteen- year tenure as professor of music at the University of California at San Diego, 1967-81. She has served as composer-in-residence at many colleges including Mills College, Oberlin College, and Northwestern University. She has also acted in an advisory capacity for organizations such as the National Endowment for the Arts, the New York State Council for the Arts, and many private foundations.
About Sonic Meditations:
In 1974 Pauline Oliveros published one of the most important works of her career, the seminal Sonic Meditations. The work broke radically from the traditions of western music. Instead of using standard music notation, the composition consisted of twenty-five Roman-numeraled prose instructions, ranging from one sentence to a few paragraphs, which presented strategies for listening. The example below, Sonic Meditation X, illustrates their general character:
“Sit in a circle with your eyes closed. Begin by observing your own breathing. Gradually form a mental image of one person who is sitting in the circle. Sing a long tone to that person. Then sing the pitch that person is singing. Change your mental image to another person and repeat until you have contacted every person in the circle one or more times (score).”
Oliveros wrote the Meditations while involved in teaching and research at the University of California, San Diego. To a certain extent, her involvement with meditation synthesized academic research with the revolutionary, consciousness-expanding characteristics of the new sensibility.
A hallmark of her work in San Diego was a fascination with long continuous sounds, such as the drones of motors, fluorescent lights, and freeway noise. Oliveros discovered that through processes of relaxation, she could listen more closely to drones, and that relaxation also helped her to gain insights into the phenomenology of listening itself. In the spirit of the new sensibility, she became interested in forms of meditation that increase awareness, such as those used in Buddhism and T'ai Chi Chuan (Oliveros, Software for People 148). She learned she could apply these forms of meditation to music making and listening with profound effect.
By 1970, several other women had joined her (many of whom were not professional musicians) to form the (“fem”) Ensemble—an all-woman improvisation group devoted to studying long sustained sounds, both vocal and instrumental. Oliveros' phenomenological analysis of listening led her to a special interest in the involuntary changes that occurred while the Ensemble sustained tones. Based on her involvement with various forms of meditation, she began to lead improvisations that encouraged spontaneous, subconscious transformation through de-emphasizing mental constructs such as "opinions, desires and speculations" (Oliveros, Software 149).
The actual sound making in the Sonic Meditations is primarily vocal, but sometimes includes hand clapping or other body sounds. Occasionally, sound-producing objects and instruments are used. Since many members of the (“fem”) Ensemble were non-professionals, the approach is radically egalitarian. Special skills are not required, anyone can participate. The principle focus is on the cognition of sound. In the second "Introduction" to the work, Oliveros writes that each Meditation is a special procedure for the following:
1. Actually making sounds
2. Actively imagining sounds
3. Listening to present sounds
4. Remembering sounds
Through her research, Oliveros concluded that the Sonic Meditations could produce healing, heightened states of awareness and expanded consciousness, changes in physiology and psychology, and new forms of communal relationships ( Sonic Meditations, "Introduction II"). "In the process a kind of music occurs naturally," she wrote. "Its beauty is not through intention, but is intrinsically the effectiveness of its healing power."
Oliveros continued this work, and by the 1980s, it led to an aesthetic philosophy she refers to as Deep Listening, which redefines listening as being an art in itself. She speaks of hearing as the "primary sense organ," and has summarized Deep Listening as follows:
"Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, or one's own thoughts as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is. As a composer I make my music through Deep Listening" (Oliveros, Website).
Oliveros' aesthetic of Deep Listening thus encompasses a very wide area of musical thought and consciousness developed over four decades of composition and research. In their practical applications, the forms of Deep Listening embodied in the Sonic Meditations hint at new types of music making, new concepts of social order, and new forms of spirituality. As the New York Times music critic, John Rockwell, has noted, "On some level, music, sound, consciousness and religion are all one, and she would seem to be very close to that level" (quoted in Oliveros, Website).
Some Central Concepts of Deep Listening as Embodied by the Sonic Meditations.
The Sonic Meditations can be quite fun to perform. They are often more intimate than normal chamber music and create unusually intense feelings of rapport among the participants. They also create a sense of safety and creative freedom since there is no "right" or "wrong" way of performing them—the bane of both professional and non-professional musicians.
The Sonic Meditations embody the concepts of Deep Listening, which include nonjudgmental perception, the development of empathy through listening, the creation of nonhierarchical social relationships in music making, the expanded use of intuitive forms of internal and external awareness, and new understandings of sensuality and the body. These practices are fundamental to Oliveros' work, and shape both her music making and teaching. She identifies creativity as fundamental to human dignity, and feels that helping others to be creative is an essential part of the artist's work. To analyze the Sonic Meditations we will look at their relationship to some of the central components of Deep Listening.
Deep Listening cultivates forms of perception unhindered by preconceptions. One of the Deep Listener's goals is to listen to each and every sound exactly for what it is, nothing more, nothing less. The Sonic Meditations thus focus our attention on how listening is an act of cognition that can "filter" or shape auditory perception. This is illustrated in “Sonic Meditation XXII,” which asks the practitioners to think of a familiar sound, listen to it mentally, and notice how it affects them differently in various imagined contexts.
Image: William Osborne: Pauline Oliveros‘ deep listening and the sonic meditations
www.facebook.com/phonofemmeSat, Oct 21, 20:00
Curated Media for #Q21vienna
Opening: Thu, May 11, 18:00
Venue: Electric Avenue, Q21
A cultural institution thrives on lively exchange. As a result, visitors and employees share social media content every day. A cooperation with Downtown Vienna presents a selection of these impressions on screen, making them easily accessible. Q21 creates a new, distinctive image consisting of many individual perspectives. The project invites people to participate in the creative process in an uncomplicated way.
Tag your content with #q21vienna!
Image: Say Say Say, Inc.ongoing, daily 10-22:00
TONSPUR 75_lost: ROBERT ADRIAN (1935-2015). Roberto Paci Dalò (ITA): LONG NIGHT TALKS. FOR ROBERT ADRIAN
8-channel sound installation and 7-part poster series in the TONSPUR_passage
Opening: Sun, Jul 30, 17:00
LONG NIGHT TALKS. FOR ROBERT ADRIAN is the new work by Italian artist Roberto Paci Dalò created during his residency at TONSPUR - Q21/ MQ in July 2017.
The piece is composed of an 8-channel sound work and 7 images. In addition to it, the ORF commissioned a radiowork to be broadcasted on Ö1 Radiokunst Kunstradio on the opening night.
The piece is dedicated to Robert Adrian X (1935-2015), a pioneer in art and telecommunications. The Canadian artist lived in Vienna since 1972 and his contribution to the art world has been also witnessed by a large retrospective at Kunsthalle Wien back in 2001. Adrian received the Prize of The City of Vienna in 1993, and the Austrian Art Prize in 2011. He was awarded the Nam June Paik Art Center Prize in 2009.
Through more than two decades Adrian and Paci Dalò shared a close friendship also working together on several projects including a film Paci Dalò especially created for Adrian's major retrospective. The two used to sit in Adrian's studio in the Wiedner Hauptstraße and share long night talks dicussing passionately art, radio, transmission, technologies, web, surveillance, sound, warfare, and conflicts.
In LONG NIGHT TALKS. FOR ROBERT ADRIAN, Roberto Paci Dalò worked on Adrian's voice using it as a main material for the installation. The visitors will have the opportunity to immerse themselves in the grain of the voice together with field recordings, instrumental and electronics sounds. A journey into fascinating times and experiences where visitors are surrounded by sounds in the unique TONSPUR multi-channel audio environment.
Parallel to the sound work, the artist created a series of 7 drawings conceived as a constellation: A nocturnal sky which is also a graphic score for the piece. The seven drawings reflect the 7 days of an imaginary week together with Robert Adrian in his studio in Vienna's Wiedner Hauptstraße.
A daily journal of Paci Dalò's residency at Q21 (images, texts, sounds) is online at: robertopacidalo.com
Books and records of the artist are available at Buchhandlung Walther König at MuseumsQuartier.
Image: © Roberto Paci DalòJul 31 to Dec 2, daily 10-20:00
Sep 02 to Nov 02, Tue-Sat 12-19:00