Aquela Que Eu Queria Ser (The One I Wanted To Be) 2001 Co-produced by Paula Higa and Jenn Karson. Garden architecture by Ken Mills.
Behind the Schemes: When Helen of Troy Came to UVM, 2019
In the spring of 2018, the UVM Classics Department produced the Greek tragedy Helen by classical Athenian playwright Euripides. Seven Days praised the effort, saying the production was “an unusually inventive rendition.” The play entailed extensive collaboration, involving UVM students, faculty, staff, alumni, and community artists and actors.
The exhibition Behind the Schemes: When Helen of Troy came to UVM features visual artifacts from the production, documenting the interdisciplinary scholarship and artistry that made it both unique and noteworthy. On display are musical scores by JohnFranklin, Professor and Chair of the UVM Classics Department; set drawings and sketches by cartoonist and archaeological illustrator GlynnisFawkes; script notes from the numerous classical scholars who contributed to the translation; a 3D-printed mask mold; and an electric lyre built by local guitar-maker Creston Lea and used by Franklin to perform the original score of “New Ancient Music” he composed for Helen. The artifacts chosen for this exhibition share distinct aesthetics of mapping—the organization of space—and scoring—the organization of time.
Behind the Schemes celebrates an inspired collaboration and its potential to serve as a model for interdisciplinary scholarship and artistry on a university campus. The exhibition is curated by Jenn Karson, who has been recognized for her work with interdisciplinary research through Vermont Makers programming and the UVM FabLab.
SubAmbient Sound refers to sounds discovered through excavation, sounds found below the surfaces of things and places. What seemed solid and fixed is revealed as changing, resonant and alive. The SubAmbient Sound Workshop provides opportunities for participants to engage with new pathways of mapping places, memories and knowledge. Read more.
Presented at: Toronto International Electroacoustic Symposium, Toronto,CA Middlebury College, VT Fleming Museum of Art, VT
Jenn Karson’s Sonic Mapping Workshop Explores Burlington
On Wednesday, April 15, and Saturday, April 18, Karson will teach others what she’s learned in a unique, two-part soundscape workshop at the Fleming Museum titled Mapping Found Sounds. It’s one part maker crash course, one part scavenger hunt and all conceptual art. The workshop will delve into a realm of sound art that Karson says takes its cue from avant-garde composers such as John Cage, who experimented with everyday ambient noises. (One of Cage’s best-known pieces is “4’33″” — named for the four minutes and 33 seconds in which the musicians are instructed not to play their instruments; the piece is the sounds of the audience and their surrounding environment.)
The result of “Mapping Found Sounds” will be a sonic map of the Burlington area. What will that sound like? Karson has no idea — she’s leaving that part up to the students. Certainly, though, participants shouldn’t expect to stand on street corners and record traffic noises.
Part 1 of Karson’s workshop will teach students how to repurpose the contact microphones in cellphones, computers, toys and other devices to make a simple listening instrument that can attach to headphones. The contact microphone changes the way a human ear hears a sound: The listener hears only the vibrational resonance of the sound waves, not the extra noise that might identify that resonance as, say, a door slamming or a car honking.
In Part 2, students will explore the Burlington area, placing their listening device on buildings, sidewalks, street lamps and elsewhere to “discover hidden sounds” in the area, as Karson puts it. “I want to have a reflection on Burlington that’s really new,” she says.