Tracklist: Disc 1: 1. The Purpose-Driven Life 2. A Journey With Purpose 3. Day 1 4. Day 2 5. Day 3 6. Day 4 7. Day 5 8. Day 6 9. Disc Conclusion Disc 2: 1. * Laura Andel Orchestra – Doble Mano (Rossbin, ) - Laura Andel – " SomnambulisT & Others " (compilation, bootleg) .O mare descoperire această compozitoare/dirijoare complexă de 51 ani, argentiniancă de origine dar stabilită la New York nu însă și cu cele mai citate albume de prin cronici, acum prioritare pe lista mea de. Laura Andel at The Kitchen. Laura Andel works in mostly composed pieces for large ensembles and so the opportunities to hear her work are rare. But following notable recordings and performances of her SomnabUlisT and In::tension: over the last few years, her new Doble Mano for nonet was a major statement from the young composer.
His career started with making experimental short films. Sincehe tried to establish his own style on photographic paper. He developed his original technique that is reaction with photo paper with muds in natural swamp. We could see this result at an exhibition in He continues trying this way to find his image.
To hear on Sunday 18 and 25 December2pm - 9pm:. This is an ongoing research project exploring the relationship between democracy and experimental music. The first presentation happened in the format of a concert on the 18th of September which was the elections in Berlin.
Yan Jun comes from China therefore he never participated in a general or regional democratic election. In preparation for this concert, we called all political parties and asked several questions and recorded them. Before the concert, we went to the voting poll and recorded the ambient sound there.
After we went to the concert venue and reproduced the files while people were drinking. We started informal conversations with members of the audience but the audience thought that there was nothing going on.
It was voted to have silence but actually nobody respected the vote and there was full on music and talking. What it was clear after this micro experiment, is that democracy is in crisis and many people in the experimental music scene are suspicious about it. This can be confirmed at the macro level with the recent political events: Brexit, Trump, Italy, FARC vote in Colombia… For this two Sundays exhibition you will be able to hear material from our first intervention and you will be asked to vote on whether to vote or not to vote and share your thoughts with us.
Limited editions audio cassetteeach 8 copies numbered. Yan Junmusician and poet. Mattin is an artist from Bilbao -currently living in Berlin- working with noise and improvisation. His work seeks to address the social and economic structures of experimental sonic artistic production through live performance, recordings and writing.
Both books are available online. Mattin has been invited to participate in documenta 14 which will take place in Athens and Kassel in Website Yan Jun Website Mattin. Oil, water sugar and Mariechen. Seen from the middle of the kitchen, perhaps from the stove, a sort of kitchen-scape exists, where pans clatter and soup simmers. In the composition, I have taken this historical category of folk poems, and spiced it with irritating moments and associative ideas in order to break the sentimental tonal basis.
I found the juxtaposition of harmony and disturbing elements to be most interesting. Acoustical as well as visual material gets worked over, ordered and concentrated. BJ Author of acoustical poems and audio pieces for Radio and other listening rooms.
For her sound works she was awarded among others the Karl Sczuka Promotion Prize. The latest symbolises a certain authority that has a power to choose what sounds would be louder than others.
By dragging it over different surfaces, constant hits and frictions result sort of drones and noises. By questioning the conceptual bonds between sound of politics and politics of sounds, the piece is experimenting with the role of a microphone from a tool of amplification to a musical instrument. Khaled Kaddal is an Egyptian interdisciplinary artist and experimental musician.
Currently based in London, pursuing his studies on Sound Art. His works focus on the aesthetics of sound with the interest in expanded listening and the socio-political aspects of sound and music. Scoping on the perceptions and the thresholds of listening, by questioning the radical margin between consonance and dissonance, silence and noise. Interested in enlarging the understanding of oriental aesthetic by taking it to a post-music territory, where the musical structures are de- composed to the notions of sounds.
With the accompany of visuals, his performances use electronic and acoustic instruments to form a sonic narration, to dance the mind instead of the body. Online stream: colaboradio. Live Audience: Guests please arrive at ohrenhoch at pm. Arrondissement Paris. Februar That is the origin of the title of this sound piece.
Blonk scrambled the station lists of the Berlin subway lines, U1 till U9, with a random process. This created in part pure sound poetry, performed by Blonk with a wide range of different vocal sounds.
For the accompaniments he chose a combination of instrumental sounds and other noises, often machine sounds. The compositions are built according to algorithms, based on mathematical number sequences.
Limited editions audio cassettes, each 8 copies numbered. A sheet of paper is ready for you to write down your thoughts, questions or answers. Your statements remain in the Soundgallery and thus will be readable for all visitors and sound activists. Jaap Blonk born in Woerden, Holland is a self-taught composer, performer and poet. He went to university for mathematics and musicology but did not finish those studies. In the late s he took up saxophone and started to compose music.
A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions.
For almost two decades the voice was his main means for the discovery and development of new sounds. From around the year on Blonk started work with electronics, at first using samples of his own voice, then extending the field to include pure sound synthesis as well.
He took a year off of performing in As a result, his renewed interest in mathematics made him start a research of the possibilities of algorithmic composition for the creation of music, visual animation and poetry.
As a vocalist, Jaap Blonk is unique for his powerful stage presence and almost childlike freedom in improvisation, combined with a keen grasp of structure.
He has performed around the world, on all continents. With the use of live electronics the scope and range of his concerts has acquired a considerable extension. He premiered several compositions by the German composer Carola Bauckholt, including a piece for voice and orchestra. A solo voice piece was commissioned by the Donaueschinger Musiktage On several occasions he collaborated with visual computer artist Golan Levin.
Blonk's work for radio and television includes several commissioned radio plays. He also makes larger-scale drawings of his scores, which are being exhibited. He has his own record label, Kontrans, featuring a total of 22 available releases so far. The sound production is based on the friction of two or more materials which either are placed in the vise or laid on the metal disc. The momentum of the abrasion and concomitant sound transformation thereby plays a central role.
With the ohrenhoch version different materials turntable diamond stylus, chisel The composition is built up of recordings the artist vocalizing with the sound of wind through the branches of five species of trees — larch, birch, pine, spruce, maple — making a dark forest of sound.
The listening instructions invite the audience to listen as trees. Trees operate within a completely different scale of time and movement from humans — what might we learn from them if we stopped to listen? The piece is inspired by the conviction that life — and survival — in the age of the anthropocene will require the radical re-making of dominant human culture.
In the Throat of Trees proposes a culture grounded in empathetic listening to the non-human, rooted voices of the world around us. Read more: In the Throats of Trees. To hear on Sunday 11 and 18 September2pm - 9pm: Dead or Ice Cream Sound installation by Knut Remond Lechery, lechery; still, wars and lechery: nothing else holds fashion. William Shakespeare Expulsion, hunger, poverty, nationalism, racism. He jests at scars, that never felt a wound. The installation with the so-called piece in 3 parts was made in the cellar of ohrenhoch.
It is played in two rooms with a loudspeaker in each of them. A moving light control over a built-in microphone is part of the instrumentation. The piece is structured in three parts with the titles: 1.
The talk is about the war and the chaotic situation at present in his native country, former Yugoslavia. The interview was a spontaneous decision, namely in the context of "Dead or Ice Cream" I wanted to see somebody who speaks of his destroyed country and the resultant damaged culture. Concept, questions, design by Knut Remond. Read more: Dead or Ice Cream. It's a mini work in progress for ohrenhoch, Tina M Pearson and the visitors.
Those who missed 'This Is For You' now have the opportunity to hear the sound installation. For those who already heard it, 'This Is For You' can be an interesting repeating new discovery: it can mean for each individual that the present and the past, or the hearing and the heard in their complexity get related with the future. The perception of these audio sounds will vary depending on other sounds you hear, sounds you imagine and remember, sounds you make and how you are positioned and move through the galleries.
Hearing is part of this movement because with its fineness and complexity it is a crucial factor for a new kind of enlightenment. A set of texts is presented along the walls of each of the three exhibition spaces, inviting visitors to consider many different ways to perceive and listen. This Is For You engages with the subjective territory that conjoins passive and active listening with sonic imagination, enhanced by audio signals and subtle sounds that weave in and out of the threshold of audibility.
Available at 'ohrenhoch - the Noise Shop' and can be heard there on headphone in the archive space. The nature of this soundscape, however, is intentionally elusive. The basement space at Ohrenhoch is divided into two main chambers; a person exploring a given room within the space will only ever hear sounds emanating from the other room.
If more than one person is detected in the space at any given time, the audio cuts out completely. Thus, a visitor who wishes to engage the installation must enter alone, and will never reach the source of any sound while it is being broadcast.
As such, the visitor must remain an outsider throughout the course of the gallery visit, physically apart from the source of joyful sounds or straining to decipher marginally audible voices spoken at a distance.
The installation thus invokes the alienating effects of some modern technologies, and also compels the experience of permanent exclusion as enforced by unknown, arbitrary rules. Limited Edition audio cassette, 8 copies numbered. Kindernacht is arranged in three parts. It was firstly processed as waveform in the shape of electric barbed wire and then pitch shifted in order to reach magnetic woofer sound. It ends in otherworldly field recordings of whale songs -found in internet archive- as the voice of Nature overcoming the voices of violence.
This piece has been especially composed for Ohrenhoch, der Gerauschladen Gallery located in Neukolln, Berlin and its sound design has considered the use of the cellar for playing The Invention of the Electric Barbed Wire and the main space for both False March and Kindernacht. Read more: Kindernacht.
Through different methods of sound modulation, the vocal material was changed into a sound wise abstract form. The complete sound material is extracted from vocal sounds.
Displaced people tell the stories of their life before their escape, the stories of their escape and the stories of their arrival. Not only the emotionality of the escape resonates in their voices, but also the new Part II : : Resonancias :.
- Laura Andel / Electric Percussive Orchestra - In::tension:. (CD and impressions at the place of their arrival. Read more: cozy new gastfeindlichkeit. The ohrenhoch-Kids together with refugee children present a cornucopia of speech, voices and ideas from their Think Tank, by humans for humans. The ohrenhoch-Kids together with refugee children and adolescents present "Active Colorize".
These are rich, coloured sound processes, pictures and diagrams - a cornucopia crammed with innumerable segments, which are improvised and composed, and presented as a sound installation, by humans for humans. It's about hearing, listening and being heard. In this project in cooperation with Berlin Mondiale, at ohrenhoch a wonderful collaboration grew from January to June between the original ohrenhoch-Kids since and the refugee children - the New ohrenhoch-Kids. They developed their own Think Tank: a dazzling, full sound-space-picture installation.
Starting from German words that were translated by the Kids into Arab, Farsi, English, French and Finnish, and written on a paper on the wall. The language, the words are a bridge building to a playful context together with writing, drawing, photographing, embedded with tiny little electro-acoustic sound compositions. We are sated, fainthearted, and stupid idiots! We destroy ourselves, and aren't aware. In our so-called cultural diversity and historic responsibility, we have to concentrate on new paths and on the ability for being imaginative.
This is also my endeavor with the ohrenhoch-Kids: to support abilities, and as an ohrenhoch-Kid said: "Life is art, and art is life". Instead we meet other people with agitation, with verbal and physical violence, and with war deployment we destroy not only humans with great potential but all of us.
This piece documents a performance at the once booming sea-side resort, now abandoned Bombay Beach, The Salton Sea, Part II : : Resonancias :. - Laura Andel / Electric Percussive Orchestra - In::tension:.
(CD. The Salton Sea is a man-made environmental disaster. The decaying sea is host to large-scale bird and fish die-offs. Its shores are covered with salt-encrusted skeletons. Expecting to work with portable live electronics, we were pleasantly surprised to find an abandoned piano frame on the beach. This is the only instrument that featured in the original performance.
Along with the sound of birds, planes and distant freight trains. In this remix, I weave in my current response to the original performance, adding piano and live electronics. I transform the original material to reflect the ongoing transformations and degradations of the sea, which remains, in my memory, post-apocalyptic Read more: Scorched Earth. In the middle part additionally high frequency resonators with partial tones of the stridulation sound production are activated.
The end is made by a field recording of a cave in Norway. The composition 'sublocation' was created in as well, specially conceived for the loudspeaker installation 'BassBox' in the cellar of 'ohrenhoch, the Noise Shop'. Memory or Dream? Death or Life? Question or Answer? The Audio Booth, for which the present composition was designed, functions as a simulation of a Womb, while an extra material was requested by the artist, to be added onto the installation.
The duration of the composition is based on a repetitive min Sleep Cycle, whereas its title represents the eternal Flux, heard in the sound of Water traveling to any direction and functioning both as a transmitter and a receiver.
RHO has an ecological, social-cultural and psychoacoustic character and it is inspired by ancient Asclepeions and the healing power of Water and Dream.
She found her new working and dwelling place at the Gollierplatz in the Munich Westend. During her being on-site and hearing the site the urban space was perceived by her increasingly as an acoustic network of relationships.
Besides the sound characteristics of the eight sites voice-overs to the perception of the Gollierplatz in April are heard as well as soundtracks, which Sylvia Necker recorded with synthesizers, double bass and percussion.
In 'Soundactivism' it says "ohrenhoch is a command to offer to the public a conscious perception of the acoustic and implicitly political, social, individual environment. Unfold the spectrum. Fathom the agency of the acoustic. A hearing enlightenment. Impact beyond sound. I had this idea that through recording being able to seize traces of presence or in best case scenario: the rooms own being.
But how do you possibly capture a Cheshire cat? The material for this piece consists of four separate 24h recording sessions made in my former kitchen in Stockholm during sep-nov For this piece I chose to work with the recordings made 4AM. Read more: The kitchen sessions: 4AM. Cecilia Castro on 'El Pozo': The piece was made entirely with sounds from inside mines.
Workers breaking stones, landslides, pumps, machines. Low sounds that suffocate, projected lack of oxygen. The reverbs and delays tell us about the space. The sequence of sounds tell about mineral extraction modes in the history of Latin America. The arrival of Europeans to America inwrite the path by which we are walking today.
And nothing has changed. At present there are mining companies, mostly Canadian, who develop open pit mining in the north of my country. The current consequences are not only social and economic but also environmental.
These companies, such as Barrick Gold, not only leave poverty. The systems currently used to extract minerals dry rivers and contaminated with cyanide lands and waters. Read more: El Pozo the hole.
The persons concerned hear sounds that don't exist in the world outside their bodies. This hearing experience is compulsive and utterly intimate. By means of auditive as well as language tools the artist seeks possible approaches to this phenomenon to give a small insight to the inner worlds of perception and the sufferings of the persons concerned.
Through rendering audible the tinnitus sensations this utterly personal and also compulsive hearing experience can be simulated and thereby transformed into a shared sensation. How can we develop hybrid identities and more integrative spaces? For any other person there is no approach possible to a shared auditive experience of this sound world. In our every-day life where a shared hearing experience is also part of the social life, somebody with unshareable and hardly communicable experiences such as Tinnitus is consequently regarded as "other".
Read more: Tinnitus Studies. From this I conclude that weapons are more important than humans, or that for many politicians and media representatives humans who come crossing the sea are more dangerous than e. Honey, shoot me to hell. We are flooded by cars, not by humans. I put love and revolution on the same level. Sweety, give me intelligent words! We urgently need courage to a new solidary more experimental coexistence, and in my opinion it is urgently required to raise our awareness on how threatening the situation is of the world as a whole, and what else will we allow that reveals as apocalyptic.
Being an artist means to incorporate in one's performance the social and political things. Everything else is bullshit. Read more: smash cars, an LOVE. Receiving those materials on an anonymous mode, here is the audio piece i offered back to them. Read more: Thinking of you fragments. The piece is a composition of three elements; the main part is formed by a synthesized ambient sound. The second part came from the attempt to create percussive, rhythmic structures by particle systems.
As the result was satisfying intellectually but not aesthetically, it was subsequently processed as vigorously until it met my artistic requirements. The third part however is a purely aesthetically motivated percussive work. So this piece forms quasi an engagement with the interplay inherent in art between the intellect and the pure pleasure. All sounds are purely synthetic, i. Read more: untitled.
Each ornament is tied or secured to another instance occurrence of itself or of another object by a gliding sound thread. The second version of Ornaments, much longer tan the first, presents four objects and lays them out on top of the furniture music in a very careful, slow and protracted manner. Available at 'ohrenhoch, the Noise Shop' and to hear there on headphone in the archive space.
Read more: Ornaments II. Das Rauschen der Sprache, Suhrkamp, Frankfurt am Main, How do we listen to language, what do we perceive before we understand the sense of the words?
The spoken German language is disassembled in its sonic qualities, and will be spread in the spaces of the Soundgallery ohrenhoch. At the entrance, a framework of melodic-rhythmical patterns; in the Audio Booth, consonants; in the cellar, extremely slowed vowels.
Between these spaces each visitor is offered a distinct perception of the sound of language, as a suggestion, as a shadow of oneself, as a dream, as an inner notion of language and sense, the traces of a medium that is also one of the frameworks of our personality.
Available at 'ohrenhoch - the Noise Shop' and can be heard on headphone in the ohrenhoch archive space. The work includes spoken word recordings from public information media, oral history, archival news, Part II : : Resonancias :. - Laura Andel / Electric Percussive Orchestra - In::tension:. (CD, texts and field recordings from specific geographical sites. As I write this, the very same phrases are being used by David Cameron, the prime minister of the UK, as he tries to persuade the country and the government to bomb Syria.
Read more: Preparations for an Imaginary Conflict. Read more: Cynical Fragments. Read more: unlimited. Program note by Deutschlandradio Kultur: Ohren hoch! Steady movement serves as a source of fragile sound that yet remains within a framework of the expectable without merging into it. The origin of the sounds lies in front of you, is rolled out and in in front of you. Precisely the action in its sonic reality, the crackle and the pulling let concreteness flash that always eludes medial representation.
Available at 'ohrenhoch - the Noise Shop' and can be heard there on headphone no. Read more: aus den Papierwerken 1.
In Melbourne, Australia, I met three people with different perspectives on sound. I asked them to take me to places where sound is the key element for them. Warren Burt, a new music composer, took me to the loud and exuberant Southern Cross Station.
Anthony Megan, an acoustic ecologist, led me on a sound walk where nature and city coexist. Catherine Clover, an artist engaged in the study of bird languages, chose a secluded canal path. Later I returned to these three places alone and responded to the soundscapes with vocal improvisations. This work includes unprocessed field recordings, comments from my three guides and my singing. Asking questions as we walk in Melbourne: What is the loudest sound here and who owns it? Always a clue as to where power lies.
Not so much sound as agent but sound in its own right. Acoustic ecology. Sounds change and disappear - who decides? What kind of sonic environment do we want? Only quiet sounds of Nature? Learning to listen to crows and starlings as if for the first time: noting the lure of the exotic and disregard for the ordinary. What about the pleasures of noise? These loud machines mean good public transport policy. How can I find my own place in the environment? If I sing with the soundscape, can our sounds be in balance together?
Read more: Melbourne Calls. For the presentation at 'ohrenhoch' the tape is played on a stereo reel to reel tape recorder AKAI XD with auto reverse.
Other parts of the oratorio are sequences of 7 minutes composed and conducted by the pupils themselves. The oratorio was premiered on October 3rd at Philharmonie Berlin, with the choirs Berliner Cappella and Deutscher Jugendkammerchor, and pupils of Berlin schools. The tape composition 'Bring on the Magic of Coca Cola' is based on words and sentences of politicians and forms a conglomerate of speech or speech acts that are informed in particular by ritual, emotionality and social foreign domination.
Speech and the speech act as a weapon of the rulers points in its performativity on individuals who as a quintessence form a silent crowd, and leads to uncontradicted acceptance of authority and specific oppression.
Knut Remond, October Read more: Bring on the Magic of Coca Cola. The installation uses a set of collated tweets from political leaders.
The tweets are analysed for their word usage and re-synthesised using audio recordings of political speeches. Link to the online article. Available at 'ohrenhoch - the Noise Shop' and can be heard there on headphone. Read more: Democracy isn't just a Tweet away. The piece is concerned with embodiment, mediated memory, and hyperreality.
While its medium is sound, it aims beyond a purely sonic experience. Cinematic motives and modalities are abstracted to create, develop, and destroy fragments of narrative, places, and psychogeographic auras. The piece is composed using original sound material recorded from to in various locations, in:. The text is available at 'ohrenhoch'. Read more: Why is why of no stranger. Special: Louise K Wilson wrote a text about her piece 'Submerged: Silent Service' in relation to the theme 'Sound activism', with which ohrenhoch deals in Special: Louise K Wilson wrote a text about her piece 'Submerged: Silent Service' in relation to the theme 'Sound activism'with which ohrenhoch deals in Read more: Submerged: Silent Service.
This Is for You is a location-specific installation that reimagines the ohrenhoch gallery space as a multi-dimensional score for personal listening within an active acoustic space. A set of texts is presented along the walls of each of the exhibition spaces, giving visitors detailed invitations to consider for perceiving and listening in the space. The stark realities of alone-ness — in birth, death, sensation, perception — as experienced individually, solo, from a singular perspective, make the work challenging, perhaps, provocative, as experienced inside the mind.
The tripartite sound installation shown in 'ohrenhoch - the Noise Shop' has grown out of the simple recognition that serially mass- produced things and everyday objects look alike for our eyes but reveal their individual own sound and differ from each other, as soon as we listen into their inside, for example by flicking them with a finger and making them sound.
So-called transducers — small special loudspeakers by oscillation that only in contact with objects diffuse their sound through them — are placed on metal hangers, book-stands, glass flower vases and ceramic saucers as resonating bodies. The serially produced IKEA furniture objects reproduce sounds of quite normal everyday situations, living spaces and experiences. Each object with its own sound resonates with the sound being played back on it, and colors it, whereas its own sound slightly to strongly differs from the own sound of the other object which visually seems identical.
In the overall impression it can be heard that the single objects provide a seemingly musical sound garment to the played-back basic sound and make the sound wander at times through the installation by "resonating" in different ways - much the same as in a surround or multichannel installation. Sound art, as every art form, transports empowerment.
Self-definition and individuality further and further create diversity and variety, which in turn multiply. In der ohrenhoch-Schule lernen, forschen und experimentieren die ohrenhoch-Kids im Alter zwischen 5 und 13 Jahren. Leitung: Knut Remond. Feature kreiert. Inside two bird cages there is one small motor strumming steel strings that are stretched inside the cage.
Different recordings of birds living inside a cage define the way the motor spins, making the feather attached to the motor to touch the strings slightly. The tuning pegs allow to tune the cage. Installation with found objects Ana Alenso. Video installation with exhibition of the score and sketches. Having been used as torture instruments, the songs are imprinted with ambivalency in three ways:? The victims do not have access to a way of hearing the songs as popsongs.
For them they can only mean pain, suffering, the inability to hear their own thoughts. For us, the popsongs are still popsongs. Our perception might be changed because of our knowledge of their use as weapons, which, then again, lies far beyond our imagination.
The torturing soldiers themselves actively changed their own relation to the songs in a very drastic way. I find it quite hard to imagine that they could later listen to the songs without also hearing the torture instruments. One is forced to choose between two opposed ways of perception, that can never be accessed simultaneously.
On the contrary, they obscure one another. While listening to them, the songs as weapons and as songs, are always present and absent at the same time, yet always in the directly invers relation. The exhibition will present a video installation and contextual material, including the score and sketches.
Read more: If music be the food of love. The so-called compositional technique originates in a spiderweb or a conjunction of digital new media and music composition software. Working as an artist today with a laptop as a tool one is quasi immediately or simultaneously in a digital flood of news, moving in a cluster of mass information.
I find it interesting that today as a composer or artist, with digital technique one consciously, unconsciously or automatically is in a journalistic, researching context.
The question is: are we informed better, more extensively, and in a more enlightened way in this digital era?
From a mixture of rage and experiment the digital copy and paste piece "defeat" resulted in It was a research on the Iraq War instigated by the USA and the coalition of the willing, and on the procedure of American soldiers in Iraq with children in particular.
The embargo imposed on Iraq particularly struck children. Also the napalm derivative M was used. Sobering result: While critics of the US war practically couldn't get a word in edgewise, the US media uncritically for the most part took on the contents given by the Pentagon.
The documentary material for "defeat" are mobile phone video recordings by US soldiers educating Iraqi children with, for instance, footballs, chocolate and soft toys. Booklets - Interviews with the composers and illustrations by Knut Remond, program notes, biographies, Ltd. Single booklets still available. A purplish and sinuous resounding nebula, dreamlike and fragile, and a collection of distorsions with violent and sharp signs, an alphabet composed of silver and bronze characters, clinking coal splinters, at times a smutty, dense, fine dust.
The unfolding of the reaction coming out of this heterogeneous matter and its microscopic exploration goes along with three images ropes in tension, pulleys, bees and street scenes without the purpose of telling a story. Rather, the pleasure induced by their mutual contact is an end in itself.
Read more: La rosa incarnata del suono. What you are hearing in 'Island' is an excerpt, a study really, in preparation for a much longer piece, also named Island, the composition of which is now underway. I interviewed a number of year-round residents, asking each the same three questions: What brought you here?
Why do you stay? Do you have a story to tell? I also went around the island recording sounds from wherever I could. Relating to the question "sound activism" with which ohrenhoch deals inDean Rosenthal writes:. Sound Activism is for me something that all sound is striving for — whether or not it is social or political, sound reaches out to others to bring us together, push us apart, pull us into solitude, or lead us to an intellectual and emotional space for us to contemplate or weep or jump for joy or reinvigorate us; things like that, both experiential and a-priori.
As a composer, when I activate music, it's almost as if I'm merely translating something that has already existed and forever will exist. My work often is driven by musical ideas that I find outside of myself. Finding these musical ideas usually appears to me without provocation and so the element of sound activism is less influential as an intellectual or aesthetic modality than the sound activism I find in my personal experience of community, but also acts of inspiration tempered by logic.
Heard as a short, one act play, this drama also relies on the likely inaccurate translation from the native language of its writer, English, to the main language spoken in the country of its presentation. Among the many voices in this co-translated work, you will hear Eric Garner, who was choked to death by members of the New York Police Department on July 17,and U. Navy sniper Chris Kylewhose book, "American Sniper," was later adapted into a film.
Montage, Rekontextualisierung, Mittel des Sound Designs. Although these impressions are not incorrect, they are decidedly incomplete. It has to do with significant features of the economy of the islands; with the relations between those who live there and the basic industries, and, in particular, with statistical details regarding wages, hours, and working conditions.
Read more: Labor in the Territory of Hawaii, Alle Sounds wurden durch den Moog generiert. In Bezug zu der Frage 'Soundaktivismus ', mit der sich ohrenhoch auseinandersetzt, schreibt Maggi Payne:? Er bereichert unser Leben, sogar wenn wir seine Existenz offenkundig nicht bemerken. Read more: Black Ice. Two years of living in Moscow and still it seems impossible to find the right words for this city. A city of contrasts, of overlapping and colliding systems.
With unrelenting harshness. The droning sound of the subway gives way to winter landscapes of freshly fallen snow and their muted acoustics. Chimes amid the constant din of the city. Birds' twittering at the bird market and in the inner courtyards. Archetypical electronic instruments like the ANS synthesizer, rhythmicon and theremin. And the russian soul. Relating to the question "sound activism" with which ohrenhoch deals inElisabeth Schimana writes:.
Translated from German by K. I have underlined two of the questions in the text "sound activism" : 1. Fathom the agency of the acoustic.?
How can I influence things to action s without operating with language? The piece "outcry" came into being by chance, that is: with a piano I tried out some preparations for a sound-object basis for young pupils who are in the tight corset of the western classical music traditions and the so-called pop music and trapped in it.
Syria, once a country famous for its love of music has forcibly had the traditional sounds of music replaced with the violent sounds of this incessant battle. This musical instrument is used as an agent in transferring the stories and memories through sound while the collapsing of this country continues to be the soundtrack for the people. Read more: Syria. A sound journey through countries and times with original recordings from France, Sweden, Iceland, Egypt, Algeria, Taiwan and Austria, music from different times and cultures Schumann, Dufay, Codex Montpellier, muezzin calls, swedish quatrainslanguages of men and animals water birds, hen house, crows, goatswind and water.
The simultaneity of the anachronistic, the simultaneousness of the incompatible, the multiculturality through times and spaces. With one single melody the child sets forth to discover the world.
Laden with the garbage of history it goes back, grown older. A musical audio play. Relating to the question "sound activism" ohrenhoch deals with inDieter Kaufmann writes:.
I express this process of alienation with the familiar by means of technical "exaggerations" detuning, accumulation, sharpening My wish is to contribute through "meditative" hearing to accepting the foreign, and through critical hearing to distance from the familiar.
Read more: Meine-Welt-Musik - 2. Salt plays several different roles on the earth, in nature and in human life. It can be a powerful destructor or a preservation aid, a savior, or a cure. The glass tube contains the salt solution. The motor vibrates the string creating a drone. While the water evaporates throughout the days, the string gradually becomes a skeleton for the salt crystals to grow all over it.
This sound installation explores the process of transformation and change of the state of matter. Allowing the liquid to evaporate from the salt solution, the growth of the salt crystals is enabled.? The salt elements gain their bodily presence. The particles previously convoluted individually in the solution, now intertwine strongly with each other creating a new force in the unity of the crystals.
The Salt-sculpting installation has been re-created in response to ohrenhoch-der Gerauschladen theme of the year - sound activism. The process of transformation enabled within the installation serves as a micro-scale observatory in which the visitor not only observes but also influences the process.
Presence of the body in the space, every breath, movement or sound triggers a mutual exchange, contributes to the process of salt-sculpting. The change is not instantaneous or sudden it remains in the growth, it needs the right amount of time, it needs the right conditions. It is not spectacular but it emerges gradually. It leads us to the origins of the act of participation lat.
In contrast the simultaneous solidification and fracture of personal and collective identity, and the advance of technology and bureaucracy combined with an increasing philosophical skepticism towards truth and subjectivity we experience nowadays. The Salt - Sculpting is a combination of the fragility of sound and the strength of the crystal.
It reflects upon power and vulnerability, gain and loss. It's an introduction to the poetics of change. Read more: Salt-Sculpting. Lifetime project? Hager bound themselves by contract on the Over the days, months, years, the lifetime project "TAGE" leaves soundtraces of two friendly lives. An attempt of order in the motley chaos of the world. Read more: survival of the fittest.
For the creation of the fictional animals the ohrenhoch-Kids recorded different acoustic everyday objects such as plastic cups, prepared recorder, straws, elastic bands and their voices, and processed them on the computer. They compiled these more than 70 pieces or recordings on 9 MP3 players with plugged small active speakers, and partially structured them with pauses. The pauses are important in this conception or composition as the individual MP3 players intertwine and give a fantastic spaciousness to the collective composition.
For the sound-space installation 'Tagaktiv' in the Gruson greenhouses the ohrenhoch-Kids decided for the palm house. For the entire composition they additionally composed new animal sounds.
The compilation of 94 compositions for the Gruson greenhouse has been newly distributed to 12 MP3 players for the palm house. The ohrenhoch-Kids installed 'Tagaktiv' between the plants in the Gruson greenhouse and acted as guides for the small and big hearers through the fabulous sound labyrinth, combined with a botanical guided tour.
Die ohrenhoch-Kids auf der ohrenhoch-Website. Read more: Who is ruling your kingdom, dear ambrosia? Sonic Skin is a transient, unseen, research unit and live audio platform devised, maintained and disseminated by Liam Slevin. Sonic Skin is currently active in two cities; Detroit and Berlin. Sonic Skin approaches the urban environment as an analogy of the corporeal, with a complex set of systems: organs, nerves, glands, fluids, skeleton and skin.
Using field recordings taken from the urban sound ecology of Detroit and Berlin, Slevin will present a selection of these recordings that are composed at random, creating a layered and dissected soundscape. The recordings from both cities have been made through the use of minimal, simple technologies, primarily contact microphones and contact speakers. Read more: Sonic Skin 1. The wind is responsible for so many things in the Hebrides remote islands off the west coast of Scotland.
It hardly ever stops blowing. It has many characters and is accompanied by all kinds of other weather conditions. For a sound artist and composer making recordings in the islands the wind can be a curse, but it is more often a delightful carrier of the voices of people, animals, birds and things. The wind also has its own voices and activates the songs of other objects - gates, plants, leaves, fences. The wind is an accompaniment to all aspects of life on these unique islands.
Read more: Sweet Airs. Sundays 7 and 14 September Livestream on ohrenhoch. The sound installation was made ina sound-space-installation in all cardinal directions.
Martin Daske mas made recordings of inland waterway vessels and watergates. The fixed loudspeaker installation by Knut Remond in the ohrenhoch shopwindow space is like tailor-made for this "circular" sound installation: The soundscapes wander in a circle according to the cardinal direction of the voyage. In the middle of the space a model ship is floating.
Out of it fragments of a fictional? Boguslaw Schaeffer. Daske has been running his own production studio since tribord studio. The artist group Augenstern lives and works on the ship Anuschka since years. In July the MS Anuschka left Berlin direction Paris and south of France to examine all the bridges it passes on the way, using tentacles installed on board turning the ship into a sensitive percepting and sounding laboratory.
There will be an audiovisual livestream from the ship Anuschka to the gallery space of ohrenhoch, where it is projected in an installative way, continuously from 2pm till 9pm. Quasi an adventure in which technical capsizing may certainly be expected Sculptor, film director. Numerous solo and group exhibitions and awards, in Germany and abroad. Wolfgang Meyer: Experimental musician, sound artist, videos, film music. Link to Kg Augenstern on facebook. Touch is a composition of sensory disorientation.
Sonic artifacts and accidentals are juxtaposed in audio collage from the recordings of hands touching objects and structures. Fingers drag down staircases, over floors, across walls and around crystal glassware in search of unexpected moments.
Both used conical design throughout their work and I was striving to create a sound environment that plays with omnipresence and invisible architecture. Read more: Conical Sound Test 1b. The sounds are sampled from a recent filmic bastardisation of the story. Friday 27 June: 7pm - 11pm? Saturday 28 June? Additional presentation on ohrenhoch Sunday:? Sunday 6 July: 2pm - 9pm.
Their acquaintance with Sound Art and Electroacoustic Music since several years qualifies the ohrenhoch-Kids to stage a piece of one of the most important composers of the 20th century: "33? The visitors can participate.
The duration of the piece is unlimited. For 33? The visitors can choose from the records. Each turntable has a technical assistant ohrenhoch-Kids playing the records. The visitors are the performers because without them nothing is heard. In addition to this the ohrenhoch-Kids conceived their own solo music performances and solo pieces, which they will present in a daredevil approach - parallel to the staging of "33?
Director and mentor of the ohrenhoch-Kids: Knut Remond. I am interested in how language is acquired, acts of translation and the mistakes made audible when learning new songs by ear. Polly, my daughter of five, learned the song at school and we sometimes sing it together at night in order to get her to sleep.
As such, this continues my interest in the simulation and archiving of different resonant acoustic spaces. This field recording was made in the attic of our home. Read more: Duet for One: Intangible Culture. Read more: Time Traveler. The idea of shaping an acoustic duality originates from the Old Persian Mythology.
The confrontation of two opposing forces, that is the falsehood Angra and the truth Spentacauses the circle of existence. As long as this juxtaposition between the positive and the negative prevails the dynamics of the universe exist. Only if one of the two forces conquers the other in its entirety the world ends. That is the moment one may at last relish "a cup of coffee" in peace!
Good and evil, our moral prison,? Joy and sorrow passing like season, Fate in the way of logic and reason Is the victim of far worse treason. A set of home-made bird-calls on a game table. Inspired by the lack of definition in the "frictional bird-calls" which, sold commercially, mimic birdsongs that are in fact very different: nightingales, robins, goldfinches.
They sound like "birdsongs" of all we call "birds" and that we aren't able, willing or don't need to name. Territorial and boundary-setting frictions. A set of sound pieces for voice, violin, synthesizer and bird-calls. All of which are transcriptions of birdsongs or transcriptions of transcriptions of birdsongs: onomatopoeic transcriptions, motivic, suggestive, relative or partial transcriptions.
Read more: I will call you with birds names. Sound construct for 11 loudspeakers distributed in 2 loudspeaker installations, accessible in buckled, deformed zones or listening spaces.
The recording of killAmor was made in the ohrenhoch basement in October Two acoustic levels result thereby. The two stereo setups have different properties: The OSS stereo recording technique is regarded as being particularly suitable for chamber music recordings.
It results in a nearly graspable realistic "natural" spatial sound. The XY or Blumlein stereophony shows the sound in a spatially direct and markedly more present way, which at times creates the impression of enlarging the music as through a magnifying glass. The two stereo microphones were placed in changing positions during the recordings so that different acoustic images result. In the editing we overlaid the two recordings in some passages, in other ones we left just one of the stereo tracks.
The two sound levels - spatial or direct recording - were finally allotted to the two loudspeaker installations in the ohrenhoch shopwindow space and cellar "Bassbox".
The piece you hear on Sunday is a four channel feed. It projects to the original spaces what has been played within the spaces, or it transports the spatial impression of the recording into another room or another place at ohrenhoch. The visitor experiences frequent and sometimes surprising changes of perspective, projections of the music of killAmor, in and from the ohrenhoch spaces.
On the ohrenhoch loudspeaker installation in the shopwindow space With exhibition of the sketches, spectrograms and scores. Non Acoustic Symphony is a treatise on the nature and coexistence of various sounds — from pure acoustic to pure electronic. Both counterparts have been processed, so many times it's virtually impossible to recognize the source. And there are many examples of hybrid sounds, mixed from various sources, processed with analog and digital tools.
Each part has an instrument, group of instruments or sound as a main theme. Subtitles in fact have nothing in common with musical sense, but reflect some ideas, passions and sometimes obsessions of the composer.
As Non Acoustic Symphony is also a kind of a musical voyage through time and space — titles in general refer to famous Voyager 1 and 2 space mission, solar system phenomenons and selected objects. Anyway, this is not artist's intention to give any simple description or association — Non Acoustic Symphony could potentially be anything You, the listener, want.
The general idea behind this installation is based on a television and Internet role as a virtual alternative to real life. This is why we may observe mixed scraps and samples of various images, reflecting sometimes true events or directed scenes — but all as through TV or computer screen. Everything is assembled apparently without logical order, or seems to be beyond standard understanding.
Some moments could be even provocative. This may symbolize a paradox of our existence, where serious moments overlap with lighter ones, sense with nonsense etc. And finally — all happen only on a TV screen Originally formed as a pit band for the Flying Karamazov Brothers' Broadway show, KGC speaks everything from gutbucket funk, whorehouse ragtime, early Ellingtonian junglese, reggae and psychedelia, all with the loose precision and easy fluency of a veteran pit band.
Check your charts for the next convergence. But it was indeed there, intriguingly under a sign announcing "Fictionthat saxophonist Michael Blake and tubaist Marcus Rojas performed a brief early evening set May 15th. The audience was sparse and was mostly made up of kids doing their homework. Perhaps there they would play the more 'progressive' music for which they are known, but at this Album) setting, a more customary approach was displayed on Sonny Rollins' "OleoBlake's slow blues lament "Mr.
But if the material was more traditional, it did not preclude moments of modernity, particularly from Rojas' vox humana-like tuba. The contrast against Blake's tart, almost raspy tenor, especially on traded fours, was delicious like sweet and sour chicken.
The informal environment was also conducive to moments of appropriate education, like when Rojas fulfilled a request for a circular breathing demonstration. This led into an improvised loping light '70s funk whose simple form moved smoothly into a moody blues and then a deconstruction of the Beatles "With a Little Help from My Friends. At the Brooklyn haunt, May 10thBardfeld and Co.
Apart from Bardfeld, Fowlkes' early 20th century swing and Coleman's love of players like Jelly Roll Morton make for a band of sincere interpreters, if tongue-in-cheek ones. Bardfeld took every opportunity to educate the audience about Smith's life and times, couching some serious musicology in humorous terms, The combination of lecture and example showed how Smith's legacy can be traced all the way into modern violin practitioners like Bardfeld and how in jazz, strong earthy melodies still have an important place and as more than just nostalgia.
There was virtuosity, sensitive interplay, toe-tapping abstraction and an appealing gruffness a-plenty on such numbers as "Skip It"Where's the Man with the Jive? Bardfeld told a story about how Smith had varied critical responses, both as high art and low but such superficial distinctions meant little during this affable exploration. Fronting her Anzic Orchestra, an piece ensemble that adds three cellos and percussion to the standard jazz orchestra instrumentation of reeds, brass and rhythm section, Cohen demonstrated her abilities on tenor and soprano saxophones, as well as clarinet, with a program that alternated straight-ahead jazz with the AfroCuban and Brazilian music she is increasingly known for playing.
Sharing the solo spotlight with fellow reed Part II : : Resonancias :. - Laura Andel / Electric Percussive Orchestra - In::tension:. (CD Billy Drewes, Ted Nash and Scott Robinson, trumpeter Avishai Cohen, guitarist Part II : : Resonancias :. - Laura Andel / Electric Percussive Orchestra - In::tension:. (CD Juris and a swinging string section, Cohen stood out as a stunning improviser.
On several numbers Duduka Da Fonseca sat in on drums and Brazilian percussion for some exciting rhythms. On the second evening May 9thCohen played music from her Poetica album, showcasing her virtuoso clarinet.
Leading a quartet with pianist Jason Lindner, bassist Omer Avital and drummer Daniel Freedman, that was later augmented with a string quartet, she made moving music with a mastery of her instrument that is virtually unmatched today. Junior Mance at Sweet Rhythm Junior Mance has been performing regularly in Village jazz clubs for nearly half a century, but with the closing of many of the area's piano bars, the periodic appearances by his trio at Sweet Rhythm has taken on a growing import, preserving a repertoire that is not often enough played today.
A master musician with an understated virtuoso touch, Mance is a pianist whose personal style melds the influences of both Swing era and bebop pianists and his shows generally traverse the history of jazz. During a pair of Friday night sets May 11th he led his trio featuring bassist Rudy Tanaka and drummer Jackie Williams through a program that touched upon a wide range of the classic jazz piano repertory.
Tanaka was featured to great effect on "Blue Monkutilizing an unorthodox fingering style to coax rich chords from his bass. On "Take The A Train Williams took the spotlight with a solo on which he played his drums with sticks, mallets, his hands and a tambourine in a tour de force show of swing. The trio ended with a down home blues. The next set followed similarly, with Mance showing that "it ain't what you play, but the way that you play it that really counts. Sponsored by Smoke Sessions Records.
Our weekly newsletter highlights our top stories and includes your local jazz events calendar. Reset your password Click the eye to show your password. Membership has its privileges. Learn more. Laura Andel at The Kitchen Laura Andel works in mostly composed pieces for large ensembles and so the opportunities to hear her work are rare.
Showcase Buy Now. Featured Albums. Premium Harrison Goldberg saxophone.
Scott Yanow ouviu e gostou de faharderimarneusobisecocontge.co All Music Guide deu 4,5 estrelas (num máximo de 5) ao disco dos Lisbon Improvisation Players, de Rodrigo Amado, com Bruno Pedroso, Ulrich Mitzlaff e Dennis González. Spiritualized foi gravado e editado antes de Teatro. When one thinks of free improvisations, it is often of high-energy barrages of sound or esoteric sound explorations. cd | ala carte brass and percussion | mapleshade go-go and gumbo satchmo 'n' soul cd | alloy orchestra | accurate new music for silent films cd cd | laura andel | jim hobbs | phil scarff. > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >.
The songs selected form part of what is known as the Gitmo list, a collection of songs used by the American Army as methods of sound torture in previous conflicts. Gitmo List forms part of a larger body of work Slevin has been researching with regards to the physicality of sound in relation to the history of politicised sound.
Property Rights - A Practical Guide to Freedom and Prosperity, Terry L. Anderson, Laura E Huggins Ayurveda - Life, Health & Longevity, Robert E. Svoboda Child Health for All - . The songs selected form part of what is known as the Gitmo list, a collection of songs used by the American Army as methods of sound torture in previous conflicts. Gitmo List forms part of a larger body of work Slevin has been researching with regards to the physicality of sound in relation to the history of politicised sound.
Calvinism and Arminianism, Part 2 - Compared in Their Principles and Tendency or the Doctrines of General Redemption (), James Nichols Hand-In-Hand Figure-Skating (), Norcliffe G. Thomson, F. Laura Thompson, J. H. Cannan The Day's Work, Rudyard Kipling.
Calvinism and Arminianism, Part 2 - Compared in Their Principles and Tendency or the Doctrines of General Redemption (), James Nichols Hand-In-Hand Figure-Skating (), Norcliffe G. Thomson, F. Laura Thompson, J. H. Cannan The Day's Work, Rudyard Kipling. Sección dedicada al cine experimental. Largometrajes, cortos, series y material raro, prácticamente desconocido o de interés muy minoritario.
Sección dedicada al cine experimental. Largometrajes, cortos, series y material raro, prácticamente desconocido o de interés muy minoritario.
No Trigger - Tycoon (Vinyl, LP, Album), What Have I Done Wrong - Sailor Boy - What Have I Done Wrong (Vinyl), Maybe - Darren Hayes - This Delicate Thing Weve Made (CD, Album), Intro - Herbert Grönemeyer - Das Beste Von Gestern Bis Mensch Live (CD, Album), The Maxi-Single - Fredfades & Sun Raw Feat. Planet Asia, Waz (2) - The Maxi-Single / Mobbin For A Ho, Dead Lovers Lane - HIM (2) - Venus Doom (CD, Album), Jóga - Björk - Volumen (VHS), Penetration - The Challengers - Surfbeat (CD, Album), Strade - SubsOnicA - Cielo Tangenziale Ovest (DVD), Ayer - Various - España Canta A La Libertad (Vinyl, LP), Lautomne (from Saisons canadiennes) - Joseph Rouleau - Hommage (CD, Album), Always There - Various - Turn Up The Bass 18 (Cassette), Sådn Var Det Ikke I Halvfemserne - The Matadors* - The Complete Recordings 1964-1967 (CD), Candyman - The Grateful Dead - American Beauty (Vinyl, LP, Album)