Jasna Veličković - Publications




Review: „Blaues Rauschen“ bot internationalen Künstlern eine Bühne





Tuesday 10 October 2017, by Nina Schroder WAZ

Experimente mit dem „Velicon“

„Ich versuche Soundwalls (Klangmauern) zu kreieren“, so Sound-Artistin Jasna Veličković, die aus Amsterdam angereist war. In einer Performance experimentierte sie mit dem selbstgebauten „Velicon“, mit dem sie Permanentmagnete als Schallquelle kunstvoll erforschte. Veličković spielte dynamisch-federnde Magnete (die sie auch „heavy metallic gang“ nannte) virtuos an und näherte sich den Spannungsfeldern vorsichtig mit elektronischen Spulen in der Handinnenseite. Live-Elektronik und eine Live-Videoübertragung in Schwarz-Weiß erweiterten die unkonventionelle Performance zum Gesamtkunstwerk.
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THE VELICON: MAGNETIC ATTRACTION OF MUSIC AND SERENDIPITY







New Sound interview, Composer Speaks - Issue No. 46
Autors: Jelena Novak and Ksenija Stevanović
New Sound International Journal of Music is a peer reviewed academic periodical. It promotes musical creativity and theoretical concepts about music – musicological, ethnomusicological, analytical, phylosofical, aesthetical, etc. While presenting Serbian contemporary and traditional music worldwide, New Sound also deals with provocative issues on music and scientific problems concerning music in other countries as well. It focuses on composers' poetic, newly done compositions, various research problems, etc. from the aspect of analysis and contextual musicological interpretation. The journal also contains a survey of international festivals of new music, book and CD reviews and reviews of defended MA and PhD theses.
Read here: New Sound, Belgrade.


Review: Illuminating objects and heavy concepts at the MATA Festival





Wednesday 13 May 2015, by Rebecca Lentjes, I Care If You Listen


... Serbian composer Jasna Veličković did this most convincingly with her composition sUn (2014), which she composed for and performed on her own instrument, the velicon. The other four compositions featured during “Mad Filaments and Ungovernable Shoots” call things into question (resumes, household objects, video footage, even performers and instruments themselves), but sUn diverges from this theme by stripping down electronic music to its roots: magnets and coils. Using the velicon, a custom-designed magnetic interface consisting of permanent magnets in the form of spinning metal balls and vibrating coils, Veličković explains rather than queries: her instrument and piece are described as a means “to better understand the ways that magnetic fields alter sound waves.”

Standing in front of a small waist-high table that looked like it would be found in a physics lab rather than a concert venue, Veličković fashioned rays and forcefields of sound using her dexterous thumbs (she must be really good at texting). As she spun the metal balls and rearranged them and other objects, including a Canadian coin, across the surface of the velicon, the sounds pulsated around us in atmospheric clouds and clangors until she pushed and scattered them mercilessly across the surface, effectively ending the piece. The final descent into sonic mayhem was visually reminiscent of a child who has gotten frustrated with an intense game, and only after exhausting her concentration to its breaking point does she give up in a fit of frenzy. Despite this slightly off-putting ending, the piece was shockingly apt at conveying its intentions (“a mathematical understanding of…signal united with noise”), portraying not just the range in electronic sounds but giving an understanding of how these sounds are made.
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Review: Cutting Edge Sounds at This Year’s MATA Festival



Wednesday 15 April 2015, by delarue, New York Music Daily


... Another highlight and US premiere was Jasna Velickovic‘s solo performance on an instrument of her own invention, the velicon, an amplified board on which she manipulates a series of magnets and coils producing oscillations which grow lower in timbre as they become more magnetized. What began as blips and beats slowly took on jawharp-like warp and then grew lower and lower until she was approaching stygian ocean liner diesel depths. Was she going to take it all the way to where there would be no sound, only subsonics? Not quite. Watching this unfold – with Velickovic’s perfect, practically metronomic timing, as she played a furious chess game of sorts with the objects on the board – was as thrilling as it was to hear.
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Review: MATA Festival’s Sounds of Play





Thursday 16 April 2015, by Corinna da Fonseca-Wollheim, The New York Times


... Another idiosyncratic instrument was the velicon, invented by and named after the Serbian composer Jasna Velickovic. Using fixed magnets and movable inductors, she created intriguing sounds and vibrations that made the seats in the auditorium buzz.
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Review: Kids These Days







Monday 20 April 2015, by Allan Kozinn, The Wall Street Journal


... Jasna Veličković, from Serbia, created her own board-game-turned-instrument, the velicon, which is played by bringing a pair of electronic coils near a collection of magnetized metal game pieces. In “sUn” (2014), her velicon manipulation yielded rumbling sounds like those from a dangerously unstable furnace.
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Reviews: Neposlušno - Sound Disobedience Festival


Jasna Velickovic after performance at Sound Disobedience festival, Ljubljana. Photo by Thanasis Verdellis


Links:
Katja Utroša - Dnevnik - 2015
Enrico Pastorale - Passparnous web revue of arts - 2015
Vid Jeraj - Ravno do dna - 2015<
Ann-Sofie Öman - Sound of Music - 2015
Žiga Jenko - Odzven, spletna revija o glasbi - 2015
Meta Česnik - RTV4 Slovenia - 2015







4th Avaton Festival, Limassol 2014




Friday 13 Jun 2014




22nd International Review of Composers 2013 - Dnevni list Danas

Tuesday 12 november 2013, Author: Zorica Kojić

... pravi čudesni trenutak sa „Kiseonikom“ Jasne Veličković, te prave ode molekulima režećeg vazduha, opervaženih cilikom rajskog spokojstva, sa oneobičavanjem instrumenata kojem nema ravnog u sve žešćem ritmu.
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UNEN CON - DOS VISIONES | UDUAL, Reforma - Mexico City






Wednesday 28 august 2013, Author: Jesús Pacheco

"&", el signo que representa el et latino sirve como título y, al mismo tiempo, como declaración de intenciones de un ciclo de sesiones mensuales de improvisación y experimentación sonora que coordina y alberga el Centro de Cultura Digital...
“No hay una pieza final, sino nueve piezas”, advierte Espinosa, “tres colaboraciones entre Iván y yo, dos obras acusmáticas de Iván, y cuatro obras mías en colaboración con Jasna Velickovic (Serbia/Holanda), David Adamcyk (Canadá), Juan Sebastián Lach (México) y Hugo Morales (México/Holanda)”.
En una de las piezas veremos Espinosa apelará al asombro en compañía de Velickovic, cuando les veamos generar sonidos con pequeños imanes cuyo efecto en el cuerpo de los espectadores no corresponderá en dimensión a la pequeñez de los magnetos.
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ISCM World Music Days 2012 - De Standaard







Maandag 05 november 2012, Auteur: Maarten Beirens

Een ‘wereldtentoonstelling van de hedendaagse muziek’, zo kan je de ISCM World Music Days omschrijven. Tien dagen lang trok het programma als een karavaan door de Belgische concertzalen. Op de affiche: composities uit de hele wereld, uitgevoerd door Belgische ensembles en gecombineerd met eigen keuzes van al die uitvoerders, waaronder veel recent werk van Vlaamse componisten. Na de passage in onder meer Brussel, Leuven en Gent, pikten we de slotdagen mee in het Concertgebouw en de Singel.
Waar staat onze muziekscène in internationaal perspectief? De World Music Days boden een uitstekende gelegenheid om op die vraag een antwoord te zoeken.
De inzendingen van de ISCM zijn uiterst divers (want uit alle hoeken van de wereld), maar tonen zich gemiddeld veeleer traditioneel.
De schaarse componisten die wél op zoek gaan naar een experimentele, verregaande aanpak, vallen dan ook vanzelf op. De Servische Jasna Veličković, bijvoorbeeld. Zij werkt met elektromagneten om metalen onderdelen van muziekinstrumenten te laten trillen en zo klank te genereren zonder de instrumenten aan te raken. In haar Last song (gespeeld door Blindman) zijn dat metalen lamellen van Afrikaanse duimpiano’s, die versmelten met elektronische klanken en uitmonden in een groot citaat uit Richard Strauss’ Vier letzte Lieder. Experiment en laatromantische traditie zinvol integreren: het is niet evident, maar werkte toch sterk.





UNDOING THE REAL OF MUSIC IN WORKS BY Jasna Veličković







Abstract: Three works by Jasna Veličković, written within three years– Strelka (2004), Fiasko (2005) and Sputnik (2006) – draw attention first and foremost by their unusual instrumentation. However, inspite of the ‘metallic’, ‘jingling’ sound of Strelka, anxious tension of Sputnik and nonchalant melodiousness of Fiasko, these works lead up to an unexpected and exciting effect: compositional systems, carefully and minutely built and in each work in turn are also carefully and minutely deconstructed by the end of each piece. It is shown that a broad application of a system and its global operation is impossible. The point is in a fiasco of a utopia – proving that a successfully designed and functional system contains the engine of its own destruction. Keywords: Jasna Veličković, Fiasko, Strelka, Sputnik , music reality. International Magazine for Music - New Sound Nr.33 2009, 36-46. Text by Dr.Jelena Novak.




HISTORY OF ARTS IN SERBIA






HISTORY OF ARTS IN SERBIA - 20th CENTURY: The Radical Art Practices 1913-2008 deals with the specific history of "radical", i.e. "symmetrical", "interdisciplinary", "innovative" and "transgressive" artistic, cultural and social practices (that happened) in the course of the long twentieth century. Miško Šuvaković, Nevena Daković, Aleksandar Ignjatović, Jelena Novak, Vesna Mikić, Ana Vujanović, Belgrade. Including texts by V. Mikić and J. Novak about my work. Serbian language. Publisher Orion Art, 2010.





ENSEMBLE MAE - FESTIVAL DISSOLVE / RITUALS


Het avontuur van hedendaagse gecomponeerde muziek. 13 april 2010, Paradiso, Amsterdam
Publicatiedatum: 15 april 2010.Tekst: Sven Schlijper




… De zes stukken van een jonge generatie componisten stellen een reeks nieuwe rituelen voor de concertpraktijk voor. Nieuwe technologie wordt daarbij bepaald niet geschuwd. Opvallende opstelling van de stoelen in de zaal en verspreiding van muzikanten door de ruimte ook niet. De eerste drie composities van de avond focussen op het oplossen van ruimte en noties van ruimtelijkheid.
Bijzonder is Shadow Study #5 van Jasna Veličković, waarin de Sol Piano een hoofdrol speelt. Dit instrument, mede ontwikkeld door STEIM, bespeel je zonder het aan te raken. Nu is elk gecomponeerd stuk per se al nooit elke keer hetzelfde, maar met de inzet van de Sol Piano wordt dit feit uitvergroot. …







OPERA AFTER OPERA IN THE PROCESS OF RECYCLING ARCHETYPES





Abstract: Opera after opera in the process of recycling archetypes: Reconstructing, deconstructing and abolishing body and stage. After the second death of opera in Lacanian, or Žižek's sense - in post-opera's period - there are some new creative paths in the continuation of the medium in the 21st century. Based on recycling of the archetypes, mainly embodied via mythological beings, either revived or symbolized, new opera's worlds are settled by real bodies or only by their audible (sound/music) representations. This will be examined through three operas by three young Serbian and Croatian women composers, following the reconstuction (Anja Djordjević: Narcissus and Echo 2002), deconstruction (Mirela Ivčević: Tri lipe, 2006) and abolition of the operatic body and stage (Jasna Veličković: Dream Opera, 2001). Text by Dr.Tatjana Marković. Music, Body, and Stage: The Iconography of Music Theater and Opera - The tenth conference of the research center for music iconography, The City University of New York, The Graduate Center, New York City 11-14 March 2008.






WOMEN AND MUSIC IN SERBIA







J. Novak, P. Adkins-Chiti, I. Neimarevic, O. Nesic. Including texts by I. Neimarevic and J. Novak about my work. English, Italian, Serbian language. Publisher Fondazione Adkins-Chiti, Rome 2011.



THE LOGBOOK - ON OPINION




Interview with Makis Solomos during the 4th International Forum for Young Composers 2006 with Ensemble Aleph. English and French Language. Publisher Centre de documentation de la musique contemporaine - Cdmc, Paris 2006.






TECHNOCULTURE: SUBJECTIVITY IN THE NET OF MUSIC




Vris.Krik.exe: A Techno - Music Metaphor of Subject/Body. Vris.Krik.exe (premiere 2000) is a concerto for live electronics and orchestra by Jasna Veličković that has been compositionally influenced by extracts from Lewis Carroll’s Through the Looking Glass and What Alice Found There. Veličković is an important composer of the techno-generation. By techno-generation, the author means composers who use the computer to produce sound material and to perform it live. The author’s analysis is focussed on dramaturgic material and on the interactive relationship between human subjects and their sound representations - the transformation from subject to object. Text by Dr.Vesna Mikic. spacesofidentity.net, Vol 4, No1.






MUSIC "&" NETWORKING






MUSIC "&" NETWORKING: THE NOTION OF A VIRUS IN THE NET OF MUSIC Text by Dr.Vesna Mikic. English language. Publisher University of Arts in Belgrade, Faculty of Music 2005.





PARAGRAMI TELA/FIGURE - Miško Šuvaković







SCENSKO TELO KOMPOZITORKE: PARAGRAMI MUZIKE Text by Miško Šuvaković. Serbian language. Publisher: CENPI - Centar za Novo pozoriste i igru, Beograd 2001.