WHY DO STUFF? APPROACHING SOUND & MUSIC FROM THE OUTSIDE WITH ELI KESZLER AND RASHAD BECKER
03/04/2019

SESSION HIGHLIGHTS

  • Combine classroom work at CAMP with site-specific work in the spectacular mountain setting
  • Build a personalized catalogue of questions aimed at your own work, to help you navigate your working process meaningfully
  • Work with Eli & Rashad to form a new finished work
  • Subsequent performance of the work at Fuse Art Space (UK) and other venues, plus digital release on our in-house label
  • Full board including room, meals and drinks
  • Unlimited use of our recording facilities, arts library, digital editing suites, dark room and other facilities
  • Optional mountain expeditions including ascent of Mont Ceint and the spectacular Cascade d'Ars
SKIP TO: COURSE DESCRIPTION WHERE AND WHEN HOW TO BOOK KEY FACTS AND FIGURES



Check out the session blog for Eli's previous course at CAMP here

Access to the means of sound and music production has widened exponentially in the last two decades. As much as this increased access is a blessing, it also drowns musicians in an overwhelming variety of options that often mute the reason to engage with musical works in first place. Maintaining the production environment can easily become a job (and, for many, a passion) in its own right, whilst the huge variety of processes available form a constant stream of questions thrown at the composer/producer/sound artist; questions which require careful attention. Without proper attention to these questions, we risk becoming lost in a compulsive process of filling the hard drive with version after version of the same basic idea, up to a point where the idea itself becomes the object rather than the subject of the musical process.

What is this guitar angry with? Why should this filter become more generous or more stingy? Why is this phrase repeating itself without offering new insight to the problem at hand? Is it for rhetorical or for educational purpose? This workshop aims to help people from diverse artistic backgrounds who are working with sound and music to hold on to the process of creating work, despite obstacles to the narrative, without loosing determination and decisiveness.

"Why make work?" will lead into "how to make work", with a more compelling structure, and ultimately resolve into "work", equipped to speak for itself. The workshop tries to build a personalized catalogue of questions aimed at your own work through a series of practical and theoretical exercises, incorporating performance, site specific approaches, technical considerations and thought games transfering methods from other realms of media and fiction.

Eli Keszler is a New York based artist, composer and percussionist. His installations, music and visual work have appeared at Lincoln Center, MIT List Center, Victoria & Albert Museum, Sculpture Center, South London Gallery, Hessel Museum, Tectonics Festival Reykjavik, MoMa PS1 and many other locations, and he has collaborated with artists such as Laurel Halo, Oneohtrix Point Never, Laure Prouvost, Tony Conrad, Oren Ambarchi, Keith Fullerton Whitman and Aki Onda. Eli's latest album "Stadium", released at the end of last year on Shelter Press, garnered critical acclaim worldwide including bagging the prime spot as Boomkat's number one album of the year. Previous recordings have been released on Empty Editions, Esp-Disk, Pan and REL records, and he has received commissions from the Icelandic Symphony Orchestra, ICE Ensemble, Brooklyn String Orchestra and So Percussion. Eli's work is regularly featured in Frieze, The New York Times and Wire Magazine amongst other publications, and he has taught at Brooklyn College, Columbia University, New England Conservatory, Dartmouth University, Washington University, Mass Art and UMass Boston.

Rashad Becker is a composer and musician residing in Berlin. His compositions are multilayered narratives populated by an ensemble of sonic entities, some smug, some shy, some agitators, others ready to surrender. Often there's a tragic-comical touch, like a cartoon version of what could be a requiem from a dream (or just as much a fertility dance from another dimension). Recent works include the cycle "Traditional Music Of Notional Species" released across two volumes on PAN, and a multi-part work called "Based On A True Story" that derives scores from historical occurrences in a sort of 'sonic staging'. In this context, he is currently commissioned by New York-based ensemble Alarm Will Sound and Derlin string ensemble Kaleidoskop. Rashad is mainly active as a solo artist but finds himself in a series of permanent collaborations alongside (of course) Eli Keszler, Moritz von Oswald and as a member of the formation Moleglove. Other and more sporadic collaborators have been Okkyung Lee, Andre Vida, Ashley Paul, and Valerio Tricoli.

WHERE AND WHEN?

The course takes place at our residential centre in Aulus les Bains. It's two hours south of Toulouse, high in the French Pyrenees, very near the border with Spain. For detailed travel information, see the transport section. The course starts on Wednesday, 03/04/2019. We advise that you arrive the evening before (02/04/2019) - dinner and accommodation that night is included. The course runs for five days, ending on Sunday night. Accommodation on Sunday night is included, then we leave on Monday morning (08/04/2019). If you decide to take the minibus with us, you will be picked up in Toulouse at 6pm on 02/04/2019, and will be back in Toulouse at 11am on 08/04/2019.

HOW TO BOOK

To book your place on the course, you have two options: either click "ENROL NOW" at the top of this page, and pay for your place in full; or click "SPLIT OVER 4 MONTHS". In the latter case, a monthly payment plan will be put in place, so your card will be charged 25% of the fee today, and 25% each month (on the same day) for an additional three months. All card payments are handled by Stripe, and are extremely secure. We don't store any card data ourselves - all of this is handled securely off-site by Stripe.

If you have a discount or grant code, click "ADD CODE" next to the course price, paste the code in the box, and hit enter - the page will refresh, and should show the new price. Once you book, whether in a single payment or by starting a payment split, you will receive a booking confirmation email with details about how to book the minibus transport, how to get special requests to us, and so on.

INCLUDED IN THE COURSE FEE: FIVE DAYS OF CLASSES AND ACTIVITIES, A COMFORTABLE PRIVATE ROOM AT CAMP, ALL MEALS - BREAKFAST AND LUNCH AT CAMP, DINNER AT AN EXCELLENT LOCAL RESTAURANT, UNLIMITED USE OF OUR RECORDING STUDIOS, EDITING SUITES, REHEARSAL STUDIOS, LIBRARY AND OTHER FACILITIES, POST-COURSE BENEFITS & SUPPORT (SEE BELOW)
NOT INCLUDED IN THE COURSE FEE: TRAVEL
STUDENT LEVEL: PREVIOUS EXPERIENCE OF COMPOSITION, SOUND ART, OR PERFORMANCE, IN ANY SETTING, IS USEFUL.
EQUIPMENT REQUIRED: NONE REQUIRED
POST-COURSE SUPPORT: EXHIBITION AND PERFORMANCE OPPORTUNITIES AT FUSE ART SPACE, DIGITAL & PHYSICAL RELEASE OF WORK