Miloš Šejn | Českých Bratří 312 | CZ-50601 Jičín | T +420 723 701 658 | milos [at-sign] sejn.cz
AllForWeb | © 2008 sejn
DIVERSITY CONTEMPORARY II10.12.2024 - 31.01.2025
PAF 2024 / DIARIES - Deposit of Memory: Video Works by Miloš Šejn from 1988-202205.12.2024 - 08.12.2024
LANDSCAPE FESTIVAL PRAGUE 202413.06.2024 - 30.09.2024
ANIMA MUNDI | VISIONS – ITSLIQUID INTERNATIONAL ART FAIR | VENICE 202407.06.2024 - 21.06.2024
MEMORY DEPOSIT06.03.2024 - 27.04.2024
KOR . KON . TOI . 0 0 1 – Miloš Šejn / Adriena Šimotová17.11.2023 - 28.04.2024
BECOMING GARDEN…17.09.2023 - 29.10.2023
Heraclitus principle / One hundred years of coal in Czech art16.06.2023 - 22.10.2023
SYMBIOSIS06.06.2023 - 23.06.2023
1 : 1 : 127.05.2023 - 25.08.2023
Wege in die Abstraktion im Dreiländereck II02.04.2023 - 28.05.2023
BIRTHDAY16.12.2022 - 19.02.2023
Face for SU–EN22.10.2022 - 22.10.2022
Valoch & Valoch / Archeology And Conceptual Art30.09.2022 - 27.08.2023
Wege in die Abstraktion im Dreiländereck02.07.2022 - 25.09.2022
AQVA15.04.2022 - 04.09.2022
KINETISMUS: 100 Years of Electricity in Art22.02.2022 - 29.08.2022
EMERGENCY EXIT03.12.2021 - 11.09.2022
MAN IN THE CAVE24.11.2021 - 06.02.2022
ÍHMNÍ30.09.2021 - 28.11.2021
SEMI-OPEN29.09.2021 - 28.11.2021
Zdzisław Jurkiewicz. Occurrences25.06.2021 - 21.10.2021
Art Safari 36: TOGETHER05.06.2021 - 11.06.2021
ART, MELANCHOLY AND LAUGH FACES IN THE FACE OF ABSURDITY22.05.2021 - 03.10.2021
KRAJINA + / LANDSCAPE +14.05.2021 - 25.07.2021
WATER18.12.2020 - 06.06.2021
ATLAS NEW CONSTELLATIONS05.12.2020 - 30.05.2021
FOR THE LAST FIFTY YEARS27.11.2020 - 01.10.2023
PILGRIMAGE TO THE MOUNTAINS27.10.2020 - 08.11.2020
Fotograph Festival #X UNEVEN GROUND07.10.2020 - 07.11.2020
Í T H M N29.09.2020 - 31.01.2021
Table and Territory / Table et Territoire26.09.2020 - 27.09.2020
Looking Into The Window19.09.2020 - 31.12.2020
A Pilgrim Who Returns
15.09.2020 - 31.10.2020
Gočár Phenomenon03.09.2020 - 31.10.2020
ART SAFARI 35 – HYDRANT27.06.2020 - 28.06.2020
24h PERFORMANCE14.06.2020 - 15.06.2020
Through the Landscape of K. H. Mácha04.06.2020 - 06.09.2020
NMHTÍ12.05.2020 - 24.06.2020
IDENTITY23.03.2020 - 31.12.2021
Homeplace & Kunka Phenomenon04.03.2020 - 31.07.2020
↗ ASCENT ↙ DESCENT / performance art event23.02.2020 - 23.02.2020
Parallel cinema / Stream, Tree and Stone03.02.2020 - 04.02.2020
Ji.hlava24.10.2019 - 29.10.2019
TRA DUE MONDI16.10.2019 - 16.10.2019
Pilgrims, Refugees, Hermits11.09.2019 - 28.10.2019
The Naked Forms Festival (FNAF)06.09.2019 - 08.09.2019
Sounds / Codes / Images - Audio Experimentation in the Visual Arts06.06.2019 - 10.10.2019
rivers, streams, puddles04.06.2019 - 24.06.2019
IL SORRISO DEL LEONE / VENICE TELEPATHIC BODIES01.06.2019 - 24.11.2019
Performance Crossings 201915.05.2019 - 18.05.2019
THEATRUM MUNDI III27.04.2019 - 27.04.2019
Early Manifestations of Action Art in East Bohemia26.04.2019 - 16.06.2019
AQVA MUO26.04.2019 - 28.05.2019
Yellow Rose Fragrance27.03.2019 - 16.06.2019
WÄRMFLASCHE14.12.2018 - 15.12.2018
ART SPACE ECOLOGY15.10.2018 - 31.12.2020
Architecture and Senses12.10.2018 - 14.10.2018
THEATRUM MUNDI II22.09.2018 - 22.09.2018
OPERA CORCONTICA04.09.2018 - 09.10.2018
PRAGUE WILDERNESS – LANDSCAPE FESTIVAL PRAGUE 201821.06.2018 - 30.09.2018
Energy of the initial line – gesture, rhythm, movement in contemporary Czech art01.03.2018 - 28.05.2018
IMAGE / BODY / SOUND27.11.2017 - 27.11.2020
EVERY WANDERING ENDS IN THE BEGINNING13.11.2017 - 13.11.2017
(Post)Land Art and the Anthropocene06.11.2017 - 06.11.2017
CS CONCEPTUAL ART OF THE 70s11.10.2017 - 13.01.2018
SONIC SOLAR MOUNTAIN26.08.2017 - 26.08.2017
Bohemiae Rosa25.08.2017 - 31.08.2017
HOW TO EXPLAIN IMAGES TO AN INVISIBLE INTERSPACE02.08.2017 - 10.08.2017
LAPSody 2017 – The Bubble24.05.2017 - 27.05.2017
ALCHEMIC BODY | FIRE . AIR . WATER . EARTH21.04.2017 - 29.05.2017
LIQUID ROOMS / THE LABYRINTH10.02.2017 - 28.02.2017
LANDSCAPE20.12.2016 - 12.02.2017
The Landscape, Art and Photography | Contemporary Artworks in the Landscape01.11.2016 - 12.01.2017
Branches | Nature art – variations26.07.2016 - 16.10.2016
AGARA / Hommage à la Peinture04.04.2016 - 31.05.2016
SPEECH MELODIES19.11.2015 - 08.01.2016
SELÉNÉ / BECOMING A LUNAR FACE TELEPATHICALLY28.09.2015 - 28.09.2015
FACIALITY05.09.2015 - 05.09.2015
SOLAR MOUNTAIN20.09.2014 - 09.09.9999
MICHALEK / ŠEIN27.11.2013 - 12.01.2014
IL SORRISO DEL LEONE01.06.2013 - 24.11.2013
FACIALITY / Space of the Memory and an Immediate Space23.10.2012 - 24.10.2012
Faces / Face as the phenomenon in videoart20.06.2012 - 16.09.2012
ARCHIVES & CABINETS14.06.2012 - 02.09.2012
The Written Face for SU-EN28.01.2012 - 28.01.2012
Finally Together07.09.2011 - 14.10.2011
B/L – Dedicated to Carolus Linnaeus15.06.2010 - 29.08.2010
BEING LANDSCAPE25.03.2010 - 06.06.2010
Gardening10.03.2009 - 13.03.2009
Cartusiae Waldiczensis29.11.2008 - 01.03.2009
LANDSCAPE UNDER TOTALITARIAN16.09.2008 - 30.11.2008
Architecture and Senses
Plasy Monastery
Plasy Monastery
12.10.2018 - 14.10.2018
We assume that understanding the world through hearing – through listening – is as important for experiencing reality, orientation, sense of place and developing a positive relationship to the world and to other people, as is appearance (color scheme, tactile texture, variety), cleanliness, smell, or the composition of air, water or soil.
For generations, people have lived amid nature, that is in an environment which is very rich in sound. Landscape sounds have a broad spectrum of depth and dynamics, ranging from the silent to the loud, from the distant to the near. In the past few centuries, industrialization and, more recently, globalization have changed the world in many ways. The disappearance of many biological species has also impoverished the richness of the sound spectrum, and some of the processes of civilization which we have had to get used to are the standardization, flattening and increase in the volume of noise.
The interrelation of the “natural” and “artificial” noise environments is being studied by a relatively new, interdisciplinary field: acoustic ecology. Acoustic ecology studies the nature and effect of sound on the physical and psychological reactions of people who live in the given environment. A key concept is the so-called “soundscape,” which R. Murray Schafer understands as the relationship of the individual (or of a collective) to the outside acoustic environment. The soundscape includes aggregates of subjective perceptions, emotions which we (both consciously and unconsciously) experience, hear, register, measure or analyze. The soundscape is in a certain sense an objective part of a specific time and place, comprising a community’s shared aural heritage, co-creating its identity and the uniqueness of a place. It is a component in a wider psychological, social, and ecological context.
The shift in perspective is also very important for acoustic ecology: Are we able to understand how sound and noise influence other living beings? What is the character of certain soundscapes in interspecial and environmental contexts? Biophonics is a term used by acoustic ecologist Bernie Kraus, who is both artist and scientist, and who studies the transformations of soundscapes. Biophonics consist in the collective acoustic expression emitted by all organisms in a certain environment and a certain timeframe (including the vocal expressions of humans and other animals). Geophonics, on the other hand, collects the acoustics of, for example, meteorological and geological processes – volcano eruptions, the din of tornadoes and hurricanes, melting glaciers, falling stones, erosion of deserts and the crackle of electromagnetic waves. Stuart Gage’s term anthropophonics denotes those acoustic expressions which are related to humankind. Kraus notes that there exist effects of climate change which can not only be seen or smelt, but also heard.
Anthropophonics is undergoing a steady rise, and biophonics is changing at a global scale. The biotope of the forest, meadow, gardens, steppes, rivers, oceans, connected to the expression of birds and insects, amphibians and mammals is quickly disappearing from both our visual and aural horizons. Biophonics are becoming drowned out by the din of people, or rather by our ever louder machines and devices. Will we manage to adapt to such a fundamental change in our environment and, if yes, who will we then become?
AGOSTO FOUNDATION
Milos Sejn: FUNGUS, division of sonic vibrations,1994
For generations, people have lived amid nature, that is in an environment which is very rich in sound. Landscape sounds have a broad spectrum of depth and dynamics, ranging from the silent to the loud, from the distant to the near. In the past few centuries, industrialization and, more recently, globalization have changed the world in many ways. The disappearance of many biological species has also impoverished the richness of the sound spectrum, and some of the processes of civilization which we have had to get used to are the standardization, flattening and increase in the volume of noise.
The interrelation of the “natural” and “artificial” noise environments is being studied by a relatively new, interdisciplinary field: acoustic ecology. Acoustic ecology studies the nature and effect of sound on the physical and psychological reactions of people who live in the given environment. A key concept is the so-called “soundscape,” which R. Murray Schafer understands as the relationship of the individual (or of a collective) to the outside acoustic environment. The soundscape includes aggregates of subjective perceptions, emotions which we (both consciously and unconsciously) experience, hear, register, measure or analyze. The soundscape is in a certain sense an objective part of a specific time and place, comprising a community’s shared aural heritage, co-creating its identity and the uniqueness of a place. It is a component in a wider psychological, social, and ecological context.
The shift in perspective is also very important for acoustic ecology: Are we able to understand how sound and noise influence other living beings? What is the character of certain soundscapes in interspecial and environmental contexts? Biophonics is a term used by acoustic ecologist Bernie Kraus, who is both artist and scientist, and who studies the transformations of soundscapes. Biophonics consist in the collective acoustic expression emitted by all organisms in a certain environment and a certain timeframe (including the vocal expressions of humans and other animals). Geophonics, on the other hand, collects the acoustics of, for example, meteorological and geological processes – volcano eruptions, the din of tornadoes and hurricanes, melting glaciers, falling stones, erosion of deserts and the crackle of electromagnetic waves. Stuart Gage’s term anthropophonics denotes those acoustic expressions which are related to humankind. Kraus notes that there exist effects of climate change which can not only be seen or smelt, but also heard.
Anthropophonics is undergoing a steady rise, and biophonics is changing at a global scale. The biotope of the forest, meadow, gardens, steppes, rivers, oceans, connected to the expression of birds and insects, amphibians and mammals is quickly disappearing from both our visual and aural horizons. Biophonics are becoming drowned out by the din of people, or rather by our ever louder machines and devices. Will we manage to adapt to such a fundamental change in our environment and, if yes, who will we then become?
AGOSTO FOUNDATION
Milos Sejn: FUNGUS, division of sonic vibrations,1994 
Milos Sejn: A NIGHTINGALE WITH A FLAT FLIGHT, PATH IN TRANSLATION, 2018