Wine and sound at the World Science Festival

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Jo will be presenting a wine and music masterclass at the World Science Festival in Brisbane on March 25th. As well as exploring the fascinating synergies between sound and taste, she will be exploring some of the cutting edge crossmodal science behind these sometimes surprising connections.

For more information and to purchase tickets, check the World Science Festival website.

Composing music for wine

New Zealand winery, Crown Range Cellar commissioned me to create a series of pieces of music specifically composed to complement its wines. The project employs both my own studies into the way perceptions of taste can be influenced by sound, and the current findings of scientific research into crossmodal correspondences. In the presentation on sound and wine that I am making at Pinot Noir NZ 2017 in Wellington, NZ, delegates will be able to experience the synergies between the music I composed for Crown Range Cellar Signature Pinot Noir and the wine itself.

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The piece for the Crown Range Cellar Signature Pinot Noir was inspired by its rich and silky notes. A legato melody is played by a cello over a soundscape created from field recordings of the rich but bright tones of bells and the higher pitched sounds of birdsong. The deeper notes bring out the savoury character, while the treble of the birds enhance the aromatics and freshness, and the bell drone its smoothness.

 

For the Drowsy Fish Pinot Gris, I collaborated with electronic pop artist, Misfit Mod. The resulting music is an upbeat track with an ethereal pop sensibility that echoes the fresh and bright character of the wine.

The hulusiTo accompany the light and bright China Girl Central Otago Pinot Noir, I  collaboration on a piece of music with Malcolm Riddoch. This features the smooth timbre of the traditional Chinese Hulusi flute that suits the supple texture of the wine, while the wine’s freshness is accentuated by the high-pitched backing to the traditional Dizi flute. The choice of instruments are also linked to both the wine and the label’s Chinese roots.

You can listen to the music and obtain more information about the wines on the Crown Range Cellar website.

 

Oenosthesia: Australian premiere

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Recording a fermentationOenosthesia: a wine and sound experience
Wednesday 1st March – 6pm

Black Box (D106, First floor, D Block), UNSW Art & Design, Greens Rd, Paddington, Sydney NSW 2021

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Experience the fascinating transformations that occur when wine and sound combine at the inaugural Australian presentation of Jo Burzynska’s Oenosthesia, sound and wine project. Created from blending a soundscape of recordings made from the winemaking process with wines tasted during the piece, the work will premiere in Sydney on 1st March 2017 as part of the launch of the Writing Around Sound journal that Jo co-edits.

In Oenosthesia, Jo explores the way in which sound influences the perception of a wine’s taste and texture through the changing timbres and frequencies of the sonic element in combination with different styles of wine tasted during the work. Oenosthesia brings together Jo’s two professional interests as a sound artist and wine writer to create a unique experience based on the science of sensory interaction. The work was initially created as an installation from a “Suoni dal confine” artist residency in Irpinia, Italy and premiered at the Interferenze New Art Festival’s Factory of Art Rurality and Media 2012 in Tufo, Italy. It has since been presented at Rome’s MAXXI National Museum of 21st Century Arts, at Studio Sienko in London and at the Dunedin Public Art Gallery and Physics Room Gallery in New Zealand.

 

Jo is currently engaged in research into the interaction of sound and taste as part of a PhD at the University of New South Wales (UNSW). This presentation is being made as part of this research, with participants invited to provide feedback via a short questionnaire at the end of the work.

 

Jo Burzynska has a career spanning two decades in wine and sonic art. As a wine writer and wine judge she has contributed to wine magazines and competitions internationally and is the author of the book, Wine Class (Random House). She is also an active sound artist, whose work in recent years has increasingly drawn on her interest in taste and olfaction in projects that include multisensory installations and performances, as well as establishing of the world’s first “oenosthetic” bar at The Auricle in New Zealand where she matched wines with the exhibitions and the sounds in the space. She also writes on sound and has had articles published in magazines such as The Wire and is the co-editor of Writing Around Sound sonic arts journal, the third issue of which is launched at this event.

Wines kindly supplied by Pegasus Bay, Quartz Reef and The Boneline.
The exclusive glass sponsor for this event and Jo’s research is Riedel.

 

 

 

 

 

Mixing things up

 

IAO library

Swotting up with IAO’s perfume library

Having only had one fairly brief foray into making perfume in the past, I was interested to see how I’d fare with more formal training. I hoped that my experience in assessing wine and some blending experience in that realm would stand me in good stead for my residency at the Institute for Art and Olfaction (IAO).

 

Before I started, I had an idea of what I wanted to create to evoke the imagery of La Chevelure, the Charles Baudelaire poem that I was working with. The perfume would have to convey three ideas: that of the sea, a dry fragrant forest and the exotic. But where to start?

 

IAO’s Saskia Wilson-Brown suggested my first task should be nosing through the samples in the perfume organ. As sniffing everything would prove impossible, and likely lead to temporary anosmia, I check out the vials that hold scents I think might suit my brief. The organ’s aromas provided an intriguing experience – from Cashmeran with its wood earthy almost fungal notes – that I earmarked for my fragrance – to more divisive aromas such as Indolene – redolent of decay with a whiff of the faecal – not appropriate for this piece but something I’d like to experiment with in the future!

 

After assembling my aromatic palette I set to work making the three “accords” that would combine to create my final smell-track – these are a number of aroma “notes” that are combined to create an effect akin to a musical chord. First up was the wood, which given there are so many woody extracts available, I thought would be the easiest to start with.

 

Wood accord blends

My top four wood accord blends – but which one to choose?

The process was one of trial and error, with each version’s ingredients and their proportions noted down for reference. After nine attempts I reached a combination that I was pleased.

 

This first attempt at fragrance mixing hadn’t been quite as hard as I’d feared. I’d made swift progress, possibly due to being smell-fit from my wine assessments. But I also certainly noticed similarities between this and my experiences of wine blending and even with the mixing and layering of the recordings in my music too.

 

With and with a decidedly worn out snout I called it a day, then well into the evening I was still haunted by – albeit pleasant – aromas of earth and wood.

In residence at the Institute for Art and Olfaction

IMG_1869When I heard about Los Angeles’ Institute for Art and Olfaction a few years back it seemed like a dream establishment in which to explore the exciting potential of olfactory art. Now this month I’m its resident artist, learning about creating aromas to integrate into my multisensory practice with the resulting work opening at its gallery on 25th August.

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I have IAO director and founder Saskia Wilson-Brown as my tutor and the institute’s extensive perfume organ at my disposal. These first days I’ve been sniffing my way though the collection and selecting aromas I may want to work with as the aromatic element of my project at the space.

 

IMG_1873This work is inspired by the poetic imagery of the symbolist poets, and more specifically La Chevalure, a poem by Charles Baudelaire. The multisensory work I’m creating, like those of the symbolists, draws on the interactions between sound and scents to evoke states of mind. However, in this work, this state will be created not by words but by the sounds and scents themselves in an immersive sensory environment that sets out to blur the boundaries between its own artifice and the subconscious reactions provoked by the participant’s sensory responses.

 

As in my past work – in which I have created installations applying contemporary scientific knowledge of the psychological interactions of certain sounds and tastes -in this new installation I’m again applying some of the findings of current research into crossmodal correspondences between sound and odours.

 

Surrounded by so many intriguing aromatic components I’m feeling in my element and hoping this bodes well for my perfume blending skills!

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