Created (XML-WORKS_COUNTRY-Germany.xml) Open frame source for XML data.

( 106 Justin Bennett 1964 1619 images/works/Bennet-1999-accumulator.jpg Accumulator(HD) In a small, irregularly-shaped space, sounds from contrasting urban spaces emerge from four loudspeakers arranged in a helical form. The transitions between these sounds are not smooth, but are created through glitches and distortions resulting from malfunctioning digital storage algorithms. Urban spaces, teeming with people, work, machines, or just deserted resonating rooms. Their acoustic traces are captured with microphones and stored on vinyl, tape, cd and hard disk. There they accumulate glitches, bugs, scratches, drop-outs, pops and crackles which erode and colonise them. One space mutates into another. The sounds fragment and recombine into new structures in a parallel of urban development and destruction, constantly creating new centres, new borders, new wastelands. Commission 1999 Germany audio/Bennet-1999-accum.mp3 106 Justin Bennett 1964 1620 images/works/Bennet-2000-site-wasteland.jpg SITE (wasteland) SITE is a series of spatial soundworks where sonic details from one location are mapped onto another. In SITE (wasteland), shown at De Verschijning, Tilburg, the sound moves through the space in unpredictable but clear gestures. Over time, a hidden layer of sound material is revealed. - 2000 Germany audio/Bennet-2000-site-wasteland.mp3 106 Justin Bennett 1964 1631 images/works/Bennet-2003-noisemap.jpg Noise Map A grant from meinebank. Berlin together with Stroom HCBKs productiesubsidie made it possible to publish a book and a CD both called Noise Map which collect recent work. As well as drawings, photography and documentation of soundworks, the book contains essays on noise, Musique Concrete, field recording, sound installation, the correspondences between music and architecture and between sound and image. The CD samples the vibrations of the real world using field recordings. Sometimes the field recordings are untreated, sometimes they simply form a template for generating an otherwise completely electronic piece. Either way, the act of recording, of listening intently to the world is the seed from which the CD is grown. The growing process takes place within a virtual space in software; at the same time the compositions concentrate on the way these sounds fill and alter real acoustic spaces when played over loudspeakers. The real world from the past is filtered and mapped onto the listening space here-and-now in different ways in each piece. - 2003 Germany audio/Bennet-2003-noisemap.mp3 58 Bernhard Gal 1971 843 images/spacer.jpg RGBuSW - 2003 Germany audio/gal-dreiband_singuhr_excerpt_4m24.mp3 89 Tilman Kuntzel 1959 1570 images/works/Kuntzler-1998-billy.jpg BILLY THE COW “Billy the Cow” stands in relation to the locality Sternstrasse 115, Schanzenviertel (Schanzen-quarter), Hamburg St. Pauli, slaughter-house; it consists of an iron rail that is anchored on plaster bases. One can push a hand-block along the rail. By pushing, a CD-player is operated; it scratches on a CD that had been produced especially for this occasion. The recipient scratches by moving the block and so shapes the sounds that can be heard. The relation to the slaughter-house is given through the arrangement of the plain and functional bases and the rail in the room as well as the activity of the visitor. By pushing, the sounds of the CD “Animals of Our Farm” are ‘dismembered’ -this can be understood as an auditive allegory to the activities in the slaughter-house. An auditive allegory to the manufacturing of meat products through ‘interaction’ with the visitor - as a turn towards the local shaping by the slaughter-house. In the room are two plaster bases that carry an iron rail. On the rail one finds a block that can be pushed along the rail. By this, and through contacts on the rail and the block, a CD-player is controlled. One ‘scratches’ on a CD. The CD has been chosen for this presentation. The act of ‘dismembering’ the sound sequences of the CD is an allegory to the processing of animals into meat products. The animal - in its physical complexity - is cut up in its component parts, processed and put together again, for example, as “Billy the Children’s Pie” or being eaten in the “Steak-State”. In auditive allegory to this proceeding the organized sounds of a CD are ‘cut up’ in their tonal component parts and in the course the sound is individually shaped by the activity of the recipient. (The personal ‘sound(art)sausage’).There are four different invitation cards. Three of them with a steak in different stages of preparation like: ‘blue’ and ‘medium’; and one showing the pressing out of bone marrow. These illustrations show working processes of the material or may be added to a certain stage. Due to the ‘natural’ chance when sending them, each addressee of a card gets one of the four motives. It is an allegory to the accidentalness of sounds that can be heard if the addressee produces the sounds of the installation at the sliding block. CD - scraching on various sounds 1998 Germany audio/billy.mp3 89 Tilman Kuntzel 1959 1548 images/works/Kuntsel-1987-Allegory.gif Objects from the cyclus LIGHTS and SOUNDS - ALLEGORY OF A DESK LAMP A desk lamp reports its most recent experience. Instead of a light-emitting lampshade there is a sound-emitting loudspeaker. When using the switch, a sound similar to the sound caused by writing can be heard. In the nearby study there is a lamp on the desk. When switching it on, the lighting conditions stay the same. Instead of it one can hear the scratching of a nib. - The lampshade is a loudspeaker! Dr. Angelika Beckmann - 1987 Germany audio/schreibtischlampe.mp3 89 Tilman Kuntzel 1959 1557 images/works/Kuntzel-1996-love.jpg THE SOUND OF LOVE Light object containing a five step intervals, piezo-electrical transducer. 1996 Germany audio/Kuntzel-1996-love.mp3 89 Tilman Kuntzel 1959 1569 images/works/Kuntzler-1997-celesta.jpg CELESTA SOLARIS A Celesta, according to the dictionary, is a steel-sheet piano in the improved version by August Mustel 1886 in Paris. It is also comparable, however, to large-scale chimes with its large steel bars installed in a case similar to a harmonium. The instrument is played by means of a keyboard -like the one used for the cimes in a church tower. This is why the Celesta is considered to be a keyboard instrument. In 1886, the Frenchman August Mustel took out a patent for a further developed version. Because of its powerful, mellow sound, the instrument was called Celesta, derived from the Italian word celest, which means heavenly, divine. The sound sculpture Celesta Solaris consists of an upright, black, rectangular piece of tin (measuring 3m x 1.30m x 0.40m). A folding seat is worked into the front. There are solar modules underneath a glass pane in the flattened lid. They drive the solar motors that are mounted inside the box. In the same spot different sound producing devices are installed, which are hit by the threads fastened to the axles of the motors in varying dynamics depending on the intensity of light. The sound-producing elements consist of different kinds of metal in different diameters, such as silver, brass, and aluminium. They transmit their proper sounds directly through the tin wall. The box forms the body of resonance of those sound-sources. Moreover, the acoustic sound area is produced by a drum, a free-swinging cymbal and plasic beakers. The harmony of these materials` sound was consciously designed. The materials have been chosen to add to this harmonic sound result. When the seat is turned down, the contact between the modules and the motors is established. The observer may now have a seat and listen to the ostinato sound, which is changing as the intensity of sunlight changes. steel, tin, solar modules, solar motors, sound-producing devices 1997 Germany audio/Kuntzel-1997-celestaSolaris.mp3 89 Tilman Kuntzel 1959 1551 images/works/Kuntsel-1999-3roses3musicboxes.gif THREE ROSES - THREE MUSIC BOXES Three silk roses with integrated lamps switch themselves on and off via a heat-sensitive mechanism. Electronic device, through which the individual intervals of lighting control music boxes which play the melody Jingle Bells (aleatoric constellation). - 1999 Germany audio/Kuntzel-1999-threeRoses.mp3 89 Tilman Kuntzel 1959 1544 images/works/Kuntzel-2001-neophone.jpg NEOPHONE SPACE INSZINATION use of the gallerys light systhem and other prepared neon lamps. 2001 Germany audio/Kuntzel-2001-neophone.mp3 89 Tilman Kuntzel 1959 1541 images/works/Kuntzel-2002-3rosebells.jpg Three ROSE BELLS Lightobjects generates rhythms throughout a bimetal mechanism. Lightintervals hearable throughout bells. - 2002 Germany audio/Kuntzel-2002-3rosebells.mp3 89 Tilman Kuntzel 1959 1543 images/works/Kuntzel-2002-breaking.jpg BREAKING THE WAVES - 2002 Germany audio/Kuntzel-2002-breaking.mp3 video/waves.mp4 89 Tilman Kuntzel 1959 1498 images/works/kuentzel-2006-Fussball.jpg The Football Soundwall A diary of the Football World Championship 2006 128 live radio reportages recorded in the players´ languages from all countries and played back into the ball Zu unserem kollektiven musée auditive, das nicht Bilder, sondern Klänge speichert, gehört zweifellos die sich vor Begeisterung überschlagende Stimme des Radioreporters, der das Siegtor der deutschen Mannschaft bei der Fußballweltmeisterschaft 1954 in Bern verkündete. Dieses lang gezogene “TooorTooorTooor” annocierte mehr als nur ein Tor. In ihm lag die unerwartete Wiederauferstehung einer im Zweiten Weltkrieg bedingungslos geschlagenen Nation. Geschlagen nicht nur durch den militärischen Sieg der Allierten, sondern auch durch die vollständige moralische Diskreditierung seiner selbst. Sportkämpfe und Fußballspiele, Soziologen haben oft genug darauf hingewiesen, sind Ersatzkriege. Insofern war Bern 1954 ein historisch bedeutendes Ereignis, das sein gültiges akustisches Symbol im “Tor”-Gebrüll des deutschen Radioreporters fand. Tilman Küntzels künstlerisches Projekt für die Berliner Sonambiente 2006 operiert mit den agonalen Energien der aktuellen Fußballweltmeisterschaft. In seiner “Klangwand” hat er 64 Fußbälle wie Pokale installiert, die als skulpturale Metonymien alle Spiele der Fußball-Weltmeisterschaft repräsentieren. Darüberhinaus hört man aus den einzelnen Bällen collagierte Radioreportagen in den Landessprachen der gegeneinander stehenden Mannschaften. Wenn sich am Ende der Meisterschaft die Stimmen zu einem synchronen und energetischen Klangteppich verweben, ist darin der aggressive Kampf wie das friedliche Miteinander aller eingelagert. Küntzels Installation, in der sich auditive, plastische und performative Motive bündeln, ist charakteristisch für das Werk des Künstlers, das sich nicht von Gattungsgrenzen einschränken lässt. Den kontemplativen ersten Part des Küntzel-Projektes ergänzt ein interaktiver zweiter Part. Auch seine installativen Dispositive fungieren als Referenten, die auf die Kräfte des Fußballereignisses verweisen. Ohne direkte Spiegelung ist der Fußball kritisch darin aufgehoben. Küntzels “Schlafröhre” bietet dem durch die Wettkämpfe psychisch gestressten Besucher eine temporäre Rückzugsmöglichkeit, die zugleich Temperatur und Temperament der Wettkämpfe charakterisiert. Küntzels “Blutdruck-Messstation” verweist auf die emotionale Belastung, welcher der Fan während der Spiele ausgesetzt ist. Und Küntzels “Defibrillator”, ein mobiles Gerät zur akuten Behandlung von Herzinfarkten, rückt den Ernstfall eines möglichen break down des Fans noch stärker vor Augen. Die installativen Dispositive des zweiten Parts nennt der Künstler in seiner Projektbeschreibung “Maßnahmen zur Instandhaltung des Klangkörpers Fan”. Die sanfte Ironie, die in der Etikettierung des Fans als “Klangkörper” liegt, macht Küntzels artistische Strategie deutlich. Die per Mikrophon in den Klangraum geschleusten Geräusche des Blutdrucks der Fans sowie die sprachlichen Anweisungen des “Defibrillators” für den Patienten-Notfall verbinden sich mit den erregten Live-Reportagen der Spiele zu einer eindrucksvollen akustischen Collage, in der die Leidenschaften der Akteure ebenso aufgehoben sind wie die der Zuschauer. So gelingt Tilman Küntzel mit seinem ”Klangraum” das Kunststück, Glanz und Elend des Fußballs synästhetisch zu verdeutlichen und zu verdichten. Michael Stoeber, März 2006 - 2006 Germany audio/Kuntzel-2006-football.mp3 video/Kuntzel-2006-football.mpg 66 Abinadi Meza 1976 737 images/spacer.jpg Dark Ice looped samples, my own field recordings and d 2004 Germany audio/Meza-DarkIce.mp3 66 Abinadi Meza 1976 736 images/spacer.jpg Paleswan looped samples, my own field recordings and d 2004 Germany audio/Meza-Paleswan.mp3 101 Jon Rose 1951 1320 images/works/Rose-2001-perks.gif Perks An Interactive Badminton Game perks video quicktime 5.2 MB click for perks extract from Berlin Sonambiente Festival 1996 quicktime video 5.2 MB Space is not the final frontier, nor is it cyber-space... its the brain, or at least, our understanding of how it actually works. Jon Rose presents a simple analogy, the Badminton court represents the brain, the two Badminton players play out the roles of the left and right hemispheres. The brain belongs to one time Australian musical genius and deviant, Percy Grainger, a man who created some of the most inspired and beautiful innovations in 20 century music while at the same time being capable of the most depressing racial bigotry. This piece is a satirical celebration of the Jekyll and Hyde in his mind... and perhaps in all of our minds! The thoughts of the players are heard periodically loud and clear throughout the performance (the voice belonging to Elise Lorraine). They react to each other (as sports people do!) with personal comments, spurious philosophical assertions, occasional abuse, and observations on the evolutionary struggle. On each of the rackets and the net are mounted contact microphones and accelerometers, these access musical material. The movements of the rackets then further control tempo, rhythm, panning, volume, etc. The information from each racket confronts, complements or cuts off the material generated by the previous racket stroke. The role of Percy Grainger is taken by a midi controlled player-piano. There are parts for Hurdy-Gurdy (Stevie Wishart) and other improvising guest musicians (in the CD version Phil Minton and Butch Morris are the extra Badminton players and Grainger s Free Music machines are realized by Rainer Linz). Texts and video images are derived from recently discovered (?) letters by the composer and pianist. When not providing a violin commentary on this piece of revised music history, Jon Rose umpires the way through Grainger s musical pre-occupations. PERKS celebrates the technology and physicality of music; from the latest interactive technology to original 1908 Grainger field recordings of Rarotongan music. Like Grainger himself, PERKS deconstructs a wide range of music vocabularies based on often disparate elements... from a traditional Irish melody to a chaotic version of the Grieg piano concerto. The interactive sounds used in PERKS are digital representations of keyboard, percussion and homemade electronic instruments found (or imagined) in the Grainger museum, Melbourne. Humanity s brain seems to remain fundamentally flawed, combative (it takes two to Tango) and tribal (which one do you belong to) in its response to just about every issue from politics to music. Whether it is the expression of racial prejudice, the notion of the Nation State, Football supporters, a religion, or some other exclusive club, we demand that our species goes to extinction in an orgy of tribal nonsense. If our branch on evolution s Tree of Life is now full grown with future development possible but unlikely, clearly we are going to need a sense of humour as the game stumbles on into the next millennium. N O W T R Y T O C A T C H T H E S H U T T L E! Each person must have some subject that fires him to madness, to put up with less seems crazy. Percy Grainger - 1996 Germany audio/Rose-1996-Perks.mp3 video/Rose-2001-perks.mpg 101 Jon Rose 1951 1325 images/works/Rose-1995-fence.gif The Fence Since the early 1980s, in addition to his work about the violin, Jon Rose has been building very long string instruments (up to 25 meters in length). These constructions found their original inspiration in the wind triggered outback Fences of Australia. The Fence is one of the most powerful analogies for everything that separates, controls and isolates the human race; in particular when the Fence is used as a regional or national border. In 1995 Jon Rose built and played a barbed wire fence as part of the New Music Festival at Viitasaari, Finland. It was modelled on the border that separates Russia and Finland - complete with live and armed border guard. From this experience came the idea to make an experimental radio work featuring an endless fence that circumnavigates the entire world, incorporating many of the conflict zones that seem unresolvable or remain as scars on the psychology of the people who must live on each side of these artificially created borders. Miniature sonic stories illustrate the fences function... there are always sound political reasons for a fence, arent there? From the Great Wall of China to Israels latest attempt to imprison the entire Palestinian people through building a brand new security fence, the species never seems to learn that (in the long run) fences, walls, barriers always fail - the foreigner, the refugee, the enemy, the stranger, or simply the OTHER is part of us. - 1998 Germany audio/Rose-1998-fence.mp3 81 Kurt Schwitters 1887 1255 images/spacer.jpg Ursonate 02 Held at El Sonoscop archivo de arte sonoro, Barcelona - 1932 Germany audio/Schwitters-Kurt_Ursonate_02_Zweiter_Teil.mp3 81 Kurt Schwitters 1887 1256 images/spacer.jpg Ursonate 03 Held at El Sonoscop archivo de arte sonoro, Barcelona - 1932 Germany audio/Schwitters-Kurt_Ursonate_03_Dritter_Teil.mp3 123 Karlheinz Stockhausen 1928 2369 images/works/Stockhausen-1954-study.jpg Electronic Study I Study I (Summer, 1953) is the first composition to use sine tones. The tone colorings for the composition are produced from simple, electro-acoustic materials, whose assembly is determined by the composer. The consciously musical ordering penetrates to the nucleo-acoustic area of sound materials. Another fundamental method for producing sounds electronically, not based on adding sine waves to ‹stationary sounds› and ‹sound mixing,› relies on dividing ‹white noise.› This requires the use of electric filters which permit a dividing of ‹white noise› into sound waves of any frequency range and density—comparable to a prismatic dividing of white light into bands of color. Because of the lack of differentiated filtering systems, in Study II a special process for producing non-stationary sound occurrences was used. This made it possible to include the entire family of sounds in the compositions. Instead of the strangest and most unlikely sounds, sought after even more was the outermost uniformity of sound materials and their form. (Source: Program WDR Köln Musik der Zeit , 1954, quote in Karlheinz Stockhausen, Texte, Band 2 (3. unaltered edition), DuMont: Cologne, 1988). Accessed 11.12.06 from - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1953 Germany audio/Stockhausen-1953-study1.mp3 123 Karlheinz Stockhausen 1928 2372 images/works/Stockhausen-1964-Kontake.jpg KONTAKTE Kontakte is a giant leap forward from Gesang der Junglinge - it is more than twice the length, the electronic sound world is far richer and the musical ambitions are much greater. It was originally planned as a piece for three percussion, piano and four-track tape, with each performer controlling one track of the tape with a fader. During trial rehearsals it proved impossible for four musicians to synchronise with, and respond to, the tape as well as operate the necessary electronics. The piece now exists in two versions: Kontakte (electronic music) - as performed tonight - and Kontakte for electronic sounds, piano and percussion. Nearly all of the sounds on tape are made with an impulse generator - an early electronic device made for producing short, sharp clicks of varying speeds and lengths. Stockhausen had discovered that if a click was played at a high enough speed (more than 16 clicks per second) it became pitch - a note. And if a note was slowed down it became lower and lower in pitch until it became a click. (This effect can be obtained by sticking a flat, wooden ice-lolly stick into the spokes of a bicycle wheel.) It is a phenomenon that is at once very simple and very sophisticated. He had discovered the continuum between pitch (very fast clicks) and rhythm (slow clicks) and this is demonstrated to great dramatic effect in the piece. Physical space is again integrated into the compositional process and Stockhausen defines ........ six forms of spatial movement: rotations, looping movements, alternations, disparate fixed sources (different sounds from each of the four loudspeakers), connected fixed sources (the same sounds in all the loudspeakers) and isolated spatial points. To control the spatialisation of the sounds he designed an acoustic, quadra-panning system comprising a loudspeaker mounted on a large, hand-operated turntable surrounded by four microphones that formed the corners of a square. Electronic sounds poured from the loudspeaker and Stockhausen turned it by hand diffusing them to the four corners that, via four tracks of tape, would eventually be the four corners of the concert hall. The title refers to the way the musical material contacts as it transforms between different sound colours and to the way distinct forms of spatial movement interact. © Robert Worby 2001. Accessed 11.12.06 from - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1960 Germany audio/Stockhausen-1964-kontakte.mp3 123 Karlheinz Stockhausen 1928 2391 images/spacer.jpg Mixtur Stockhausen composed Mixtur in 1964. It is scored for 5 orchestral groups, sine wave oscillators and ring modulators. It is one of the first pieces, if not the first piece, composed for orchestra and live electronics. During the early performances it was discovered that it was extremely difficult to balance the dynamic forces of a full symphony orchestra with the electronics. In 1967 Stockhausen revised the piece and scaled down the orchestral forces and it is this version that has been performed throughout the world since then. Microphones collect the sounds of each orchestral group – percussion, woodwind, brass, pizzicato strings and arco (bowed) strings – and the mixed signal from each group, apart from the percussion, is fed into a ring-modulator. This is an early analogue device, invented for use in telecommunications, that modulates one signal with another. The sound of the sci-fi robot villains the Daleks is made using a ring-modulator that combines an actors voice with a fixed low frequency sine wave. In Mixtur it is the sound of instruments – solo and in groups – that is modulated by sine waves the frequency of which change, very precisely, to produce the most incredible sounds – sustained metallic swoops, glissandos screeching from the highest high to the lowest low, pulsing signals like a thousand bristling shortwaves or robots trashing a can factory. It’s difficult to imagine how Stockhausen had the idea to make this piece. How did he know what it would sound like? He might have been able to work occasionally with individual instrumentalists and a ring modulator, experimenting with possibilities and noting the results. And occasionally he may have had two or three musicians in the studio. But it must have been near impossible to imagine a whole orchestra, divided into five groups, four of which are being ring modulated to produce sounds that nobody had heard before …. ever. To put all this together, invent a way of notating it and make it work must have been like flying to the moon. Maybe that era of the late 60s, when people were flying to the moon, was marked by a true pioneering spirit; a time of journeying into unexplored territory. Stockhausen was certainly doing this in music. The underlying structural principle of the piece was invented by Stockhausen and is known as ‘Moment’ form. The work is made up of individual units which are “self sufficient”, tiny pieces in themselves, which then combine to make the whole work. In Mixtur there are 20 ‘moments’ and there is some flexibility built into their combination. The piece can be played forwards, from moment 1 through to 20, or backwards (retrograde) from 20 to 1 and some moments may be exchanged with others. Within some ‘moments’, of the original piece, orchestral players are obliged to choose exactly what they play from a selection of material written in the part. There are some elements of chance here, there is some indeterminacy. And it is these elements that Stockhausen has revised in this new realization. Mixtur (2003) has no indeterminacy, all the parts are completely written out, the players no longer have any obligation to make choices. The world premiere of the new version was scheduled to take place at the Slazburg Festival on 30 August, Stockhausen himself was to conduct. As I was traveling to the airport, on my way to Salzburg, I got a phone call to say that Stockhausen was unable to conduct because of an attack of sciatica. He had rehearsed the orchestra in Berlin but conducting in Salzburg was impossible, he couldn’t leave home. Naturally, this was extremely disappointing. A once-in-a-lifetime experience simply evaporated. Salzburg was grey. The Alps towered above low cloud. Drizzle soaked everything. The concert venue was the ‘Lehrbauhof’ – the Building College – which was miles out of town. Stockhausen had invited me to attend rehearsals so I arrived at the venue in the middle of the morning having trudged through the suburbs in the rain. It was a dull looking place, nestled into the foot of the mountains. Inside, students were building – walls and things. It looked like a tidy building site, not a venue for an orchestral concert. But tucked away from the construction activity was the college hall and here the orchestra were rehearsing, each separate section dressed in bright coloured shirts – the brass in red, woodwind in blue, arco strings in yellow, pizzicato strings in lime green and percussion in a kind of mauve, although the one percussionist wore red. There was no doubting which section was which. The sound was fantastic. This hall worked very well. Just the right size. I sat in the middle of the auditorium and the balance was wonderful. The electronics and the orchestra made one sound which sat in the room perfectly. I was able to move my head just a fraction and pick out detail from the rear speakers. If I focused towards the front the rears melded into the mix. All very clear. Rehearsals finished at lunchtime and I took the bus back into town. I arrived early for the concert. Festival stewards dressed in dark coats with polished brass buttons looked like toytown railway porters but they gave the occasion an air of solemnity. The audience looked like aging professors, or would be aging professors, with their wives dressed straight out of Country Casuals. These were the good burghers of Salzburg and what they liked was Mozart and plenty of it. The forwards version – ‘Vorwärtsversion – was played first. Extremely precise. Very clear defined pauses between some ‘moments’. This was something new because the 1967 score clearly states “without pauses between the moments”. The balance and the sound were as they had been in rehearsal, absolutely perfect. These players knew exactly what they were doing. This is what comes of six 3 hour rehearsals. In Brtain an orchestra would be lucky to get two rehearsals. The final note, a high C, (‘moment’ 20 is called ‘High C’) was held and held and held, ring modulated sidebands swirling and swirling. And then there was silence. The aging professors didn’t know what to do. What on earth was that? Had the piece finished? Do we applaud? The silence stretched out. I began applauding enthusiastically. Several claps echoed around before the audience sluggishly joined in. A few polite, wide-eyed socialites gathered around the mixing desk in the interval, asking questions, desperate to make sense of what theyd just heard. Music from outer-space madam, and right here is the spaceship! After the interval we heard the backwards version - ‘Rückwärtsversion. Again, every sound was in its right place, the timbres rich and deep. Rounded basses and hard rattling bassoons, glissandos that felt like they had just swooped off the Alps, electronics like signals from a radio telescope jammed on an alien life form. The applause was a little more confident. The professors’ bewilderment had been temporarily suspended. When I stepped outside the rain had stopped. On the last bus back into town no one spoke. We rattled through the suburbs, big wooden houses set in their own grounds. The driver squeezed us through a tiny gap in the ancient city walls, back into the land of powdered wigs and red velvet. I wondered what the other passengers were thinking. Maybe one or two of them had secretly enjoyed it, but no doubt most of them would be returning home to tuck up in bed with a nice cup of cocoa and their Mozart teddy bear. Safe and sound. But please, not for them, the sound of today’s music. - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1964 Germany audio/Stockhausen-1964-mixtur.mp3 123 Karlheinz Stockhausen 1928 2375 images/works/Stockhausen-1964-Hymnen.jpg HYMNEN Short-wave. The aural window on the world. Babble and squeak. .... get across the ocean in a few seconds. Cut the ether with the tuning dial and hit the edge of a station somewhere far, far away. A single speaking voice emerges. Or maybe its a large choir voicing a robust melody. Perhaps its the insatiable bleeping of a Morse code transmission, the actual message submerged in secret rhythms. At the edge the sound fizzes and swirls, then fades and tumbles back. Turn the dial. Slowly, precisely, deliberately. Searching for the dont-know-what. Hiss and crackle rub against high pitched drones that recall the burnished shriek of a jet engine. A voice reads a string of numbers, slowly and deliberately. Keep turning. Suddenly drums and trumpets and unison voices sing heartily, passionately, joyously - an anthem, a national anthem. It shifts and twists and begins to throb like a distant pulsar. Keep turning. Stations run together transforming noise, via melody, into speech then headlong into electro-gabble before swirling back again into noise. This is the world of HYMNEN: short-wave scramble, voices, distant places and music. Recordings of familiar tunes, national anthems (in German: Hymnen ), are transformed as if filtered through a billion stars. Stockhausen writes, Anthems, the national anthems, are the most popular music there is. They are sound signs, sound objects familiar to many people. Actually, everyone is familiar with two or three of these anthems, at least the beginnings of the melodies if not the texts. ..... That is why I chose them as objects, which I can now manifoldly modulate and compose into an unknown world of electronic music. In this unknown world, recognisable found object sounds interject and interrupt the continuity: scraps of speech, sounds of crowds, recorded conversations with the composer, a croupier, a recording of the interior of a Chinese shop, the launching of a ship. These interjections add layers of mystery, intrigue and curiosity. Who are these people? What are these events? Why are they here? At the surface of HYMNEN the sound world feels chaotic, fragmented and multi-facetted like a Cubist painting or collage. But Stockhausen is emphatic. The composition of HYMNEN is not a collage. Many-sided interrelationships have been composed among the various anthems, as well as between these anthems and new abstract sound shapes, for which we have no names. Numerous compositional processes of intermodulation were employed in HYMNEN. For example, the rhythm of one anthem is modulated with the harmony of another; this result is modulated with the dynamic envelope of a third anthem; the result of this is in turn modulated with the timbral constellation and melodic contour of electronic sounds; finally such an event is given a specific spatial movement. Intermodulation is a kind of superimposition process whereby a chosen characteristic of one musical artefact (eg. rhythm or harmony or dynamic) is directly mapped onto a different musical artefact. The outcome of these complex compositional processes is transformation, a kind of sonic metamorphosis leading the listener from the familiar into the unfamiliar. So, in HYMNEN, the everyday musical material of a national anthems mutates into previously unheard sonic landscapes, Stockhausen s unknown world . The work is divided into four Regions , with a total duration of around 113 minutes, and each Region features several centres that focus on specific anthems. Region I (27 minutes 38 seconds) begins with layers of short-wave scramble , introduces the croupier, travels through the Internationale and the Marseillaise via a meditative fugue' on the colour red and into a bridge and intermediary piece that links straight into Region II (30 minutes 4 seconds). Here great clangerous, metallic chords lead into an unknown landscape and 'marsh ducks quack the Marseillaise'. The first centre in this Region is the German national anthem chopped, shredded and then fabulously extended into a huge downward glissando that twists, turns and then slides upwards to a shimmering plateau. This material is followed by the first transition, one of the 'found object' sounds, the launching of a ship. At the second centre 'God Save The Queen' is only just recognisable like a familiar landscape viewed through a frosted window. This centre is followed by a multi-layered 'studio conversation', between Stockhausen and his assistant David Johnson. Time jumps and then folds in layers as they 'go one dimension deeper' to reveal some of the compositional procedures. The third centre is an African anthem whirled about in space and into the Russian anthem which is the only one that is entirely synthesized; all the other anthems in the piece began life as recordings. The first centre of Region III (23 minutes 40 seconds) continues the Russian anthem with the harmonies and duration greatly expanded as if recorded onto elastic sheeting and stretched to capacity. The second centre is the American anthem which is processed in fleeting collages and pluralistic mixtures. The anthems of Israel, Turkey and Ireland lead into a transition, through young voices singing Glory, glory hallelujah and back into short-wave which becomes a vehicle to get across the ocean in a few seconds to Spain which is the third centre. Glockenspiel tones, shifted way down in pitch, echo like ghostly ships bells across this landscape and 'announcements' of the Swiss anthem concludes this Region and begins the next. Region IV (31 minutes 45 seconds) continues the Swiss anthem which is the 'First Empire' of the Region's double centre shared with 'an anthem of the utopian realm of Hymunion in Harmondie under Pluramon'. This is formed out of the final extended chord of the Swiss anthem. Surrounded by shimmering, descending glissandos it transforms into a pulsing abyss into which are shouted echoing names: Turid, Naçar, Iri, Maka. Suddenly the croupier appears again to announce Messieurs, dames, rien ne va plus! A solid metallic attack triggers an immense slide that glides down over the continued pulsations. This is an apocalyptic image reminiscent of Biblical paintings showing great fissures in the Earth with fire and brimstone and lost souls being devoured by demons. A slow, mournful, sine-wave melody emerges and the croupier makes his announcements again. The Region, and the piece, ends with 'the breathing of all mankind. This huge work is a supreme manifestation of humanity and culture, of unity and structure, of technology and vision. It's an unmistakable landmark, a beacon in the landscape of mid 60s culture and counter-culture. It echoes those times: the delirium and confusion. It speaks simultaneously of madness and civilisation, of confusion and clarity, of noise and music. Stockhausen wrote: What I am trying to do, as far as I am aware of it, is to produce models that herald the stage after destruction. I'm trying to go beyond collage, hetrogeneity and pluralism, and to find unity; to produce music that brings us to the essential ONE. And that is going to be badly needed during the time of shocks and disasters that is going to come. © Robert Worby 2001. Accessed 11.12.06 from - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1964 Germany audio/Stockhausen-1964-hymnen.mp3 123 Karlheinz Stockhausen 1928 2371 images/works/Stockhausen-1956-Gesang.jpg GESANG DER JÜNGLINGE It is the first work of four-channel spatial music with composed directions and movements of the sound all around the audience. For the first time electronic music is combined with speech (the praising of God in the Song of the Youths in the fiery furnace from the 3rd book of Daniel). A twelve-year-old boy sang all of the syllables and tones which Stockhausen composed together with the electronic sounds. The world première ended in a legendary scandal, which is documented in many protests in all the media and which led to a lawsuit of a popular music critic against the WDR. 13 min. 14 sec - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1956 Germany audio/Stockhausen-1956-Gesang.mp3 80 Karlheinz Essl 1960 2345 images/spacer.jpg orgue de cologne Accessed 10.12.06 from - 1985 Germany audio/Essl-1985-orgue-de-cologne.mp3 80 Karlheinz Essl 1960 2341 images/works/Essl-1999-maze-2006.png m@ze°2 m@ze°2 is a computer-based electronic instrument which serves as a realtime environment for composition and improvisation as well. This project is another attempt to realize an old idea that has been haunting me for many years: the vision of a music * which composes itself at the moment of its sounding * which is not merely a reproduction of a pre-fabricated notation * which is capable of reacting on exterior influences * which exhibits infinite temporal expansion * which never repeats itself. The piece is entirely written in Max/MSP (taking advantage of my own Realtime Composition Library) and runs on Apple Macintosh computers. It is based on an ever-growing library of samples which are processed by so-called structure generators which in turn can be triggered and controlled using the computer keyboard and/or the mouse. An elaborated section of DSP-routines (including reverb, filters, equalizer, delay lines, LFO, ring modulator, doppler effects and panning) enables the player to process the sound structures freely afterwards. NB: This software is not public domain. It is used by its author, the composer Karlheinz Essl, as an electronic instruments for his solo performances and improvisations with other musicians, starting with the multi-part performance project fLOW (1998/99) until recent solo performances such as Sonnez la cloche! (2003) and action rituelle (2004). Accessed 10.12.06 from - 1999 Germany audio/Essl-1999-maze-02_Lo.mp3 80 Karlheinz Essl 1960 2338 images/works/Essl-2001-grids.jpg GRIDS An electronic soundtrack for an image supplied by the web-label tum. Composed and performed in December 2001 by Karlheinz Essl on his electronic instrument m@ze°2.Accessed 10.12.06 from - 2001 Germany audio/Essl-2001-GRIDS.mp3 80 Karlheinz Essl 1960 2337 images/works/Essl-2002-pendente.jpg PENDENTE for a light installation by Martin Kaar. Accessed 10.12.06 from - 2002 Germany audio/Essl-2002-PENDENTE.mp3 80 Karlheinz Essl 1960 2334 images/works/Essl-2003-mystere.jpg Le mystère d'orgue As musical accompaniment for the major Hermann Nitsch retrospective at the Essl Collection, Karlheinz Essl has created a expansive sound installation which has its centre in the Rotunda and, from there, floods the large hall and the galleries with sound. For Nitsch, music has always been an integral element of his Orgien Mysterien Theater, which found its climax in the 6-Day-Play in August 1998. For this meticulously choreographed Gesamtkunstwerk the artist composed an original music score which has recently been released on 51 CDs. Sound samples from this recording have been used as basic material for the sound installation Le mystère dorgue. A specifically developed computer programme splits these samples into atoms of sound and re-combines them into ever-new sound shapes in real-time. The resulting sound stream wafts through the exhibition halls like an organ sound, surging and receding, thus creating an aura reminiscent of the original orgiastic-mystic environment for Hermann Nitsch’s performance relicts. The sound installation Le mystère dorgue can be listened to from 17th Oct 2003 to 11th Jan 2004 at the Essl Collection in Klosterneuburg/Vienna.Accessed 10.12.06 from - 2003 Germany audio/Essl-2003-mysteredorgue-excerpt.mp3 80 Karlheinz Essl 1960 2332 images/works/Essl-2004-seelewaschen.jpg SEELEWASCHEN SEELEWASCHEN was composed for a light installation by Rainer Gottemeier which is swimming in a huge water bassin of a former shipyard. The environment is surrounded by 7 loudspeakers which are standing in wide distance from each other. Each loudspeaker is acting as an autonomous source playing pre-composed soundfiles and pause tracks in random order. By this, an unexpected sonic situation is created which never repeats itself and always appears in the state of flow and change. The sound material for this piece was drawn from a single stroke of a church bell. By the aid of computer programs which the author has written in MaxMSP, three different structural types (DRONES, STROKES, TEXTURES) have been composed: * DRONES: sustained sounds with slow fade-in and fade-out (exploring the technique of „granular synthesis“) which appear in 7 different transpositions. Those transpositions are based on an all-interval-row; the manifold combinations of its intervals are creating the basic harmonic structure in which the entire piece is embedded. * STROKES: isolated bell strokes with long sustain, in 7 different transpositions (see above). * TEXTURES: rapidly changing transposition of the church sound using very high overtones relationships which result in a rich texture that ressembles the sound of birds. Pre-composed variants of those three sound structures and a set of carefully measured pauses are combined by chance operations which are carried out autonomously by each loudspeaker. Indoor version IRCAM (Paris): October 2004 SEELEWASCHEN („Purification de l’âme“) is a multi-channel sound environment which was originally composed by Karlheinz Essl for an outdoor light installation by the German artist Rainer Gottemeier. Using the sound of one single bell stroke as its basic material, the piece unfolds a rich sonic cosmos by a computer program written in Max/MSP. By using random-controlled algorithms from the composers Realtime Composition Library (RTC-Lib), the piece is generated in realtime. It can be perceived as a sonic organism which might serve as a source for inspiration and meditation. For RESONANCE 2004, a new version of the original piece was created to be presented in a closed space. Accessed 10.12.06 from - 2004 Germany audio/Essl-2004-seelewaschen-excerpt.mp3 80 Karlheinz Essl 1960 2333 images/works/Essl-2004-uluru.png ULURU Part of the legendary DREAMTIME Aboriginal Art exhibition was a painting and dance performance given by Aboriginal people from the Australian bush at the Essl Collection on 20 May 2001. The sculpture garden was transformed into the scene of a ritual in which dance, action-painting and music were combined to form a stirring Gesamtkunstwerk with nary a trace of esoteric folklore kitsch. Composer Karlheinz Essl used a sound recording of this event and original recordings from the Australian bush as the basis for his sound installation ULURU, the title referring to the Aboriginal peoples’ sacred mountain (Ayers Rock). He developed a computer program (written in Max/MSP) based on the paradigm of granular synthesis which uses a randomised process to fragment sound material into minuscule atoms of sound. Generative composition algorithms combine these sound particles into a continuous real-time sound flow whose unpredictable evolution undergoes continuous permutations. Although the time structure of the original sound is completely unravelled by this process, its unique aura (in the sense of Walter Benjamin) is preserved. And yet, this aura is no longer rigidly tied to a particular object, but has turned into a free-flowing entity that can become part of the most diverse new combinations: alchemy of sound... For the exhibition SPIRIT and VISION - Aboriginal Art, on show at the Essl Collection from 1 April 2004, real-time generated sonic particles will be projected into the Rotunda hall via four loudspeakers. Reflected by the curving wall, they will merge into atmospheric soundscapes that invite visitors to enter into a spiritual world that lies far beyond our European horizon.Accessed 10.12.06 from - 2004 Germany audio/Essl-2004-uluru.mp3 80 Karlheinz Essl 1960 2329 images/works/Essl-2005-webernuhrwerk-GUI.png WebernUhrWerk Contemplating the 60th anniversary of Anton Weberns death. Accessed 10.12.06 from - 2005 Germany audio/Essl-2005-webernuhrwerk_1.mp3 80 Karlheinz Essl 1960 2324 images/works/Essl-2006-Airbourne.jpg AIR BORNE for an installation by Stefan Krüskemper - 2006 Germany audio/Essl-2006-airbourne.mp3 80 Karlheinz Essl 1960 2324 images/works/Essl-2006-Airbourne.jpg AIR BORNE for an installation by Stefan Krüskemper - 2006 Germany audio/Essl-2006-airbourne-soundwalk.mp3 80 Karlheinz Essl 1960 2326 images/spacer.jpg Deconstructing Mozart version for computer, church organ and electronics 2006 Germany audio/Essl-2006-deconstr-mozart-3.mp3 80 Karlheinz Essl 1960 2327 images/spacer.jpg inside/out inside-flute, live-electronics and 4-channel sound projection 2006 Germany audio/Essl-2006-inside-out_A.mp3 80 Karlheinz Essl 1960 2328 images/works/Essl-2006-panta.jpg Panta Rhei for a room installation by Jürgen Messensee - 2006 Germany audio/Essl-2006-panta-rhei.mp3 123 Karlheinz Stockhausen 1928 2455 images/spacer.jpg Interview with Jim Loudon In Five Parts - 1968 Germany audio/Stockhausen_Interview_wJim_LoudonPart_1.mp3 116 Brian Eno 1948 1369 images/works/Eno-1996-Generative.jpg Generative Music First presentation of his Koan pieces in public - 1996 Germany audio/Eno-xxxx-Generative_Roomscape_1.wav 29 Christina Kubisch 1948 272 images/spacer.jpg Über die Stille An den Wänden eines langen Ganges bzw. eines langen Raumes werden in gleichmäßigen Abständen etwas über Augenhöhe Geldscheinprüfer installiert. Die kleine Schwarzlichtlampe, die normalerweise zum Erkennen von Falschgeld dient, strahlt nach unten auf die Wandoberfläche. Direkt darunter werden auf der Wand Plexiglastafeln angebracht, auf die mit fluoreszierender Farbe Textfragmente gedruckt wurden, die das Thema der Stille behandeln. Es sind Textausschnitte aus der Zeit der Romantik, aber auch des Expressionismus und der zeitgenössischen Literatur. Zwei Mikrofone, die von den Außenfenstern des Raumes auf den Potsdamer Platz gerichtet sind, übertragen die Klänge der Großbaustelle in den Innenraum. Über eine Zeitschaltuhr wird diese Übertragung in regelmäßigen Intervallen unterbrochen. Christina Kubisch. Accessed 30.05. 2007 from 1997 Germany audio/Kubsich-xxxx-Über_Die_Stille.wav 110 Benoit Maubrey 1952 1599 images/works/Maubrey-1006-Cellular.jpg CELLULAR BUDDIES n this project 5 museum guards carrying electro-acoustic briefcases were equipped with cellular telephones and amplification systems that allowed anyone to call them up and talk out loud through them during exhibition hours. - 1996 Germany audio/Maubrey-xxxx--Cellular_Buddies.wav 84 Sam Auinger 1956 1075 images/works/Auinger-1996-balance.jpg Balance 1.0 O+A created a sonic alchemists laboratory in the old boiler room of the Akademie der Kunst just east of the site of the Berlin Wall. Sam is shown here inside a set of planet speakers which create a stereo sphere of sound around the him. He can also hear many events in the rest of the room. Its the feeling of being in two rooms at once. Multiple hearing perspectives. and the alphabet of sounds. Wir lernen, einen Sinn aus der Klangumgebung zu ziehen, indem wir sie wahrnehmen, ihr zuhören, sie erforschen, sie erkennen und als Sprache zu verstehen versuchen. Wenn wir Fortschritte gemacht haben, sammeln wir Briefe aus diesem Alphabet der Klänge und entwickeln Werkzeuge, um damit unsere Umgebung zu verändern. Als Komponisten, die an Formschaffung und Umformung von Klangmaterial interessiert sind, haben wir einige Werkzeuge für unsere eigene Arbeit entwickelt. Diese speziellen Resonatoren, digitalen Filter, Lautsprecher, Matrix-Verteiler etc. ermöglichen es uns, mit unserer eigenen Art von konkreter Musik in Echtzeit und vor Ort zu arbeiten. Wir können Harmonien und Melodien aus dem Stadtlärm herausziehen und versteckte Stimmen hörbar machen. Dieses akustische Material können wir filtern, formen und im gleichen Augenblick zurückspielen, um die Gefühle, die Atmosphäre und das Klangdesign der Umgebung zu verändern. Sam Auinger/Bruce Odland - 1996 Germany audio/Odland_and_Auinger-xxxx-Balance1.wav 211 Nobert Walter Peters 1953 3807 images/works/Peters-2004-meriterechkima.jpg mériterechkîma (4 loudspeaker; actor with blue suit, drink bottle/glass; actor with white shirt/black trousers; actress with darken every-day wear, hand bag/broken sun glasses/ object mériterechkîma; quadratic grey wooden platform 400 x 400 cm/ acryl-gold edge/alga dust; 4 round black tables, 4 black chairs/ochre-pigment) Foto: Frank Heller – theatre Aachen Accessed 21.04.2008 from 2004 Germany audio/Peters-2005-meriterech.wav 134 Ed Osborn 1930 2175 images/works/Osbourne-2002-swing.jpg Swing Set Several childrens swings are hung in close proximity at angles such that the normal swinging motion would cause them to collide with one another. The swings move on their own in an erratic but stately manner — they look as if a child has just jumped off. On the top of each swing seat is a bare loudspeaker facing upwards. The speakers broadcast a varying range of long tones and sounds of static that change slowly as the swings move. The motion of swings without people lends them a haunted air, as if the actions of the children who once used them continue to stay in place long after they have departed.Accessed 7.12.06 from Mixed media, custom electronics, sound (dimensions variable). 2002 Germany audio/Osbourne-2002-Swing_Set.wav video/Osbourne-2002_Swing_set.mpg 19 Janet Cardiff and George Bures Miller 1957 2633 images/works/Cardiff-1997-Walkmunster.jpg Walk Munster Walk Münster, Park I Location: Münster inner city The artist has created for the exhibition visitor an individual Walkman-tour through the inner city of Münster, wherein she draws from the didactic form of guided audio tours. Instead of a factual tour through the Sculpture. Projects in Münster 1997, or a history of Münster, the listener hears voices and sounds that are partially connected in some way to each separate environment: for instance, the twittering of birds, pealing of bells, and street noise. These environmental sounds are supplemented by narrative elements, such as reports and thoughts about local settings, as well as crime stories and other fictional elements. While walking through the city, a variety of moods, feelings, and assocations with locations and conjectured events are called to mind. Due to the high quality of the digital recording, the acoustic impression is especially realistic, and the discrepance between reality and recording is only clearly perceived through the pauses during the recording. During the tour, distinct footsteps and breathing are mixed with the sound of the listeners own movement, allowing the visitor to slip by unnoticed in the role of another person. In this way, the artist connects real and ficticious experiences, enabling the listener to perceive his/her environment in another way. Especially important to Janet Cardiff are aspects of control and surveillance, which should impress themselves upon the exhibtion visitor from the time s/he first receives the cassette player in the Museum. For this reason, a monitor next to a video surveillance camera is installed in the entrance area, so that persons can be observed during their walk through the city. Walk Münster, Part 2 Location: Old wing of the Landesmuseum; window overlooking the Domplatz, 2nd floor. The artist has installed a specially prepared telescope in front of a window on the 2nd floor of the museum building. The telescope, which, from its outer appearance reminds one of an object from the 40s or 50s, is trained upon the Domplatz. However, the exhibition visitor will not view the actual scene occurring outside, but instead will see a video of about one minutes duration, taken from exactly the same viewpoint. In order to heighten the impression of being observed, the telescope, which is powered by a motor, follows the movement of the people on the Domplatz (in the video). When the visitor first looks through the telescope, s/he will establish right away that s/he is not viewing an actual incident, but instead, gets the illusion that an actual event is occurring. In this way, the stationary installation in the Museum becomes a visual counterpart to the acoustically-led walk through Münster. Accessed 08.04.2007 from Walkman, field recordings, video camera, monitor 1997 Germany audio/Cardiff-_Muenster_Walk.wav 80 Karlheinz Essl 1960 2346 images/spacer.jpg Leimung .Accessed 10.12.06 from - 2006 Germany video/Essl-2006-Leimung.mpg 110 Benoit Maubrey 1952 1604 images/works/Maubrey-2003-peeper.jpg PEEPER light-to-frquency controllers/sensors enable the dancers to produce sounds through the interaction of their movements and the surrounding light. - 2003 Germany video/Maubrey-2003-peeper.mpg 110 Benoit Maubrey 1952 1607 images/works/Maubrey-2003-peacockvideo.jpg VIDEO PEACOCK An Audio Peacock costume (constructed from white polycarbonat-plexiglass) is used as a mobile projection screen. This is a solo audio-visual concert where the electro-acoustic quality of an Audio Peacock is visually enhanced via a video beamer: moving images (both live and recorded) can be projected directly onto the performers costume. A story is told live by a figurant who simultaneously samples his own amplified voice, manipulating the sound (loop and pitch): the performer dubs his own hallucogenic dream. - 2003 Germany video/Maubrey-2003-videopeacock.mpg 110 Benoit Maubrey 1952 1605 images/works/Maubrey-2003-yamaha.jpg YAMAHA Via movement sensors the dancer trigger sounds (from cannibalized electronic keyboard) that are subsequently choreographed --or orchestrated-- into musical compositions. - 2003 Germany video/Maubrey-2003-yamaha.mpg 121 Dan Senn 1953 2147 images/works/Senn-2003-waves.jpg Waves of Grain Accessed 7.12.06 from - 2003 Germany video/Senn-2003-waves.mpg 89 Tilman Kuntzel 1959 1563 images/works/Kuntzel-1987-whatdoes.jpg WHAT DOES THAT HAVE TO DO WITH GOTTFRIED DUTTWEILER? (musique acousmatic) 1988 Germany video/gottfried.mp4 43 Achim Wollscheid 1962 1845 images/works/wollscheid-2006-inlet.jpg Inlet / outlet The windows of the first floor will open and close with the movement of the people inside the building. In this project the interactive relations with the people move the opening and closing of the windows, creating a relation with the outside. Sound architecture and human behaviour are fundamental to this project, created specifically for the environment of the Polish Embassy. - 2006 Germany video/wollscheid-2006-inlet.mpg 134 Ed Osborn 1930 2174 images/works/Osbourne-2002-poppies.jpg Tall Poppies In this piece a set of unbalanced propellers are attached via small motors to the tops of slender stands. They spin intermittently and as they do so they go into an unsteady oscillation that causes the support stands to fluctuate uneasily. These fluctuations are visually and sonically amplified through resonating metal pieces attached to the stands. The patterns of motion change over time so that a slowly evolving pattern of movement emerges. Resembling a group of tall and wobbly flowers, the piece evokes a mutable combination of humor and hazard. The title comes from an Antipodean description of the propensity for a culture to cut down anyone who stands too far above the crowd: the Tall Poppy Syndrome. Due to the fragile structures and erratic motions found in the piece, it seems only a matter of time before one of the shimmering flowers falls from grace.Accessed 7.12.06 from Mixed media, custom electronics, sound (dimensions variable). 2002 Germany video/Osbourne-2002_Tall_Poppies.mpg 89 Tilman Kuntzel 1959 1564 images/works/Kuntzel-1987-soundingwashing.jpg THE SOUNDING WASHING BAGS The intention of this work is to point out the ambiguity of the term “culture”. It is derived from the Latin word “cultura”, meaning “care for body and soul” but is also implying agriculture; the term “colonia” (16th century) is closely related to “cultura” and means “estates, settlings”. In the domain of arts, “culture” generally stands for culture as an intellectual culture. I used the so-called “culture bags” to refer to the multiple meanings of the term “culture”. On a platform there are two small pedestals with two electric motors. A green toilet bag (“culture bag”) is placed on top of each pedestal. In each bag there is one loudspeaker and one walkman. An endless loop of a fragment of Swiss folk music is recorded on the tapes and can be heard through the loudspeakers. In allegory to the repetitive music, the motors are slowly and steadily turning the bags around their own axle. Since the walkmen are not synchronised, the combination of sounds is determined by the permanently changing phrases. (Please note that this effect created the genre of minimal-music) 1990 Jolanta Ciesielska THE SOUNDING WASHBAGS (DIE KLINGENDEN KULTURBEUTEL) The art of Tilman Küntzel belongs to the most interesting manifestations of art basing on the experiment - art that seeks its stimulus in music, literature, technics and the visual media. The character of his works is determined by the combination of compositional talent and the ability seldom to find in artists - to construct technical things (sound generators). The socialization (Tilman Küntzels father is musical teacher and conductor) in connection with an early interest in musique-concrete (first half of the eighties), the tradition of the Duchamps-thinking, the fluxus and the history of the ready-made - supported by the careful studying of composition and classical music - have made possible the varied forms, in which sound plays the leading role; compositions with classical preludes and utopian partiturs, experimental compositions and objects, up to room-filling sound and light installations. In his compositional work T.K. uses different sources of stimulus, like “The music of the Hamar”, a tribe from Ethopia, (art, poetry, ethnography), the natural sounds of the surroundings as well as sounds of the lodging, galleries, streets and nature. Sounds of concrete materials like metal sheet, water and sand, combined with clarinet, whistling, pianos and cello. Another chapter are his self-made instruments - made from waste materials and things thrown away. After processing by computer, T.K. widens the range of sounds and thus the space of his works. The presence of text serves as another stimulating source in T.K.’s recordings and objects - like a freely used human voice, for example. Some of his compositions are like phonological or expressive studies - more or less transformed melo-recitation. The musical evaluation of speech as an abstract arranging of tonic syllables of different pitch and different rhythms confirms the impression of intimacy. The music suggests another period of time and creates the impression of a constantly recurring déjà-vu. The will to ‘adress’ every single observer is shown in the carefully chosen traditional form: a hanging walkman with headphones, the interactivee construction of an installation (in which the source of the sounds - connected with a photoelectric cell - generates the sound only in a direct contact with the work) - mysterious objects. Metaphorical objects in which the sound is hidden underneath the form and creates an unexpected new semantic quality with it. Characteristic of Küntzel is the surprising combination of the usability of the ready-made with sound. For the first time no water flows from the shower or the tap (compare “Tarasp”); a loudspeaker instead of a bulb is put in a desk lamp (“Allegory of desk lamp”). (Another time the sound flows directly out of a post-constructivistic picture). Most of the objects and installations made by Tilman Künzel are endowed with eccentric wit and irony. Imbued with a caricatural shortening of form, equipped with selected, transferable titles that like in canon in the seriousness of the ‘puffed up’ drawing room art seem to be deceitful yet funny: “The good as well as the bad too often hide in the same soup”, “The one who laughs about his fate has chosen the better part”, “The gala of bad aftertaste” - these are only a few examples of the poetic-philosophical nature of the artist. (...) Equipment: toilet bags, autoreverse walkmen, loudspeakers, slowly rotating electric motors; music: Swiss folk music; pedestal: tile and wood 1987 Germany video/kulturbeutel.mp4 89 Tilman Kuntzel 1959 1556 images/works/Kuntzel-1995-horror.jpg THE SOUND OF HORROR VACUI The exhibition hall of the producers`s gallery is flooded by light. Six big windows are set into both the western and the eastern wall of the former production hall. Thus, during the open hours from 4 pm to 8 pm, the evening sun is shining from the west to the east across the hall and is bathing the white walls in an orange light. I have fixed six “all around”-lamps to the holding devices which are 1 meter long and which project into the room from the walls between the windows. Each lamp is equipped with photocells that are sensitive to light. A sound-producing device transforms the intensity of light it has registered into a sinus-sound. As dusk advances, the intensity of light within the room changes and so does the basic tone. In addition, the latter is controlled by the sound-producing device, so that each photocell can be tuned to a certain basic tone. Beneath the yellow plastic covers of the lamps there are mechanically driven reflectors which rotate around the halogen bulbs, thus creating the effect that gave the “all around”-lamps their name. Since each lamp disposes of its proper small motor, each reflector is rotating at an individual speed. The sensors that are sensitive to light record the individual rhythms and transform them into audible rhythms. This results in the rhythmical and tonal polyphony of the six lamps. lamps with photocells, sound-producing devices, amplifier, loudspeakers, holding devices. 1995 Germany video/horrorvacui.mp4 1 Barry Truax 1947 5 images/spacer.jpg Listening and the Electroacoustic Community 1997 Germany 15 Ros Bandt 1950 63 images/spacer.jpg Tricks no Treats 2001 Germany 16 Stephen Vitiello 1964 109 images/spacer.jpg uknown 64 channel audio work in a church multichannel, loudspeaker 1998 Germany 16 Stephen Vitiello 1964 120 images/works/vitiello-2005-we_were.jpg We Were Moving Together, Moving Apart. Not Speaking/Sleeping Together The main topic of this sound installation is the clash between sound and vision. Several speakers are hanging from which an inaudible sound is transmitted. The speakers are moving, but we are not able to hear the sound; we can only imagine that there is sound through looking. This installation was previously presented at the Sculpture Center in New York and Sound Art Museum in Rome. Accessed 8.11.06 from speakers 2005 Germany 26 William Furlong 1944 182 images/spacer.jpg Absences/Presences An installation concerning resonance, time and trace. Solo installation 1996 Germany 28 Philip Jeck 1952 199 images/spacer.jpg To the Bridge. Installation and performance with 29 record players. Multiple record players, vinyl 1998 Germany 28 Philip Jeck 1952 200 images/works/Jeck-1999-Offtherecord2.jpg Off the Record II Installation and performance with 28 record players. . Multiple record players, vinyl 1999 Germany 28 Philip Jeck 1952 201 images/spacer.jpg Off the Record III Installation and performance with 30 record players. Multiple record players, vinyl 1999 Germany 28 Philip Jeck 1952 202 images/spacer.jpg Vinyl Coda I and II For 13 record players. . Vinyl Coda II awarded Karl Sczuka Forderpreis for Radio Art Multiple record players, vinyl 1999 Germany 28 Philip Jeck 1952 204 images/spacer.jpg Vinyl Coda III For 13 record players. Multiple record players, vinyl 1999 Germany 28 Philip Jeck 1952 205 images/works/PhilipJeck-japan2000.jpg Vinyl Coda IV For 9 record players. . Ash International tour of Japan [with Disinformation], Multiple record players, vinyl 2000 Germany 28 Philip Jeck 1952 211 images/spacer.jpg Vinylisten Duet with Claus von Bebber for 6x2 record players. Multiple record players, vinyl 2002 Germany 29 Christina Kubisch 1948 225 images/spacer.jpg Musik für einen Raum 1984 Germany 29 Christina Kubisch 1948 226 images/spacer.jpg Klanginstallation 1985 Germany 29 Christina Kubisch 1948 229 images/spacer.jpg Soundscape 1986 Germany 29 Christina Kubisch 1948 230 images/spacer.jpg Klanginstallationen 1986 Germany 29 Christina Kubisch 1948 232 images/spacer.jpg Kraterzonen 1988 Germany 29 Christina Kubisch 1948 233 images/works/kubisch-1989_Darmstadt.jpg Orte der Zeit 1989 Germany 29 Christina Kubisch 1948 235 images/spacer.jpg Kein schöner Land 1989 Germany 29 Christina Kubisch 1948 238 images/spacer.jpg Zwischenräume IV 1990 Germany 29 Christina Kubisch 1948 239 images/spacer.jpg Grenzgänge 1990 Germany 29 Christina Kubisch 1948 240 images/spacer.jpg Klanginstallationen 1990 Germany 29 Christina Kubisch 1948 243 images/spacer.jpg Nachzeit 1991 Germany 29 Christina Kubisch 1948 245 images/spacer.jpg Nachzeit 1991 Germany 29 Christina Kubisch 1948 246 images/spacer.jpg Natura Morta 1992 Germany 29 Christina Kubisch 1948 247 images/spacer.jpg Ich weiß nicht, was soll es bedeuten 1992 Germany 29 Christina Kubisch 1948 252 images/spacer.jpg Kleine Metarmorphose 1992 Germany 29 Christina Kubisch 1948 257 images/spacer.jpg Zeitenwende 1993 Germany 29 Christina Kubisch 1948 258 images/spacer.jpg Azur 1993 Germany 29 Christina Kubisch 1948 259 images/spacer.jpg Wachträume 1993 Germany 29 Christina Kubisch 1948 260 images/spacer.jpg Im Laufe der Zeit 1993 Germany 29 Christina Kubisch 1948 261 images/spacer.jpg consecutio temporum I 1993 Germany 29 Christina Kubisch 1948 262 images/spacer.jpg consecutio temporum II 1994 Germany 29 Christina Kubisch 1948 265 images/spacer.jpg Sechs Spiegel 1994 Germany 29 Christina Kubisch 1948 266 images/spacer.jpg Sein und Schein 1996 Germany 29 Christina Kubisch 1948 268 images/spacer.jpg Zwischenräume 1996 Germany 29 Christina Kubisch 1948 269 images/spacer.jpg Acht Säulen und ein Raum 1996 Germany 29 Christina Kubisch 1948 270 images/spacer.jpg Musik und Raum 1996 Germany 29 Christina Kubisch 1948 273 images/spacer.jpg Zwölf Tafeln 1997 Germany 29 Christina Kubisch 1948 275 images/spacer.jpg Sieben Fenster und acht Klänge 1997 Germany 29 Christina Kubisch 1948 277 images/spacer.jpg Dreaming of a major third 1998 Germany 29 Christina Kubisch 1948 278 images/spacer.jpg Mausoleum 1998 Germany 29 Christina Kubisch 1948 279 images/spacer.jpg Zwei Räume, 1999 Germany 29 Christina Kubisch 1948 280 images/spacer.jpg Aufzeichnungen 1999 Germany 29 Christina Kubisch 1948 281 images/works/kubisch-1999_Berlin.jpg Klang Fluß Licht Quelle 1999 Germany 29 Christina Kubisch 1948 282 images/spacer.jpg Tafelmusik 1999 Germany 29 Christina Kubisch 1948 284 images/spacer.jpg Der Glocken Schlag 2000 Germany 29 Christina Kubisch 1948 285 images/spacer.jpg Zwölf Säulen und zwölf Klänge 2000 Germany 29 Christina Kubisch 1948 286 images/works/kubisch-2000_Ruesselsheim.jpg Klang Raum Licht Zeit 2000 Germany 29 Christina Kubisch 1948 287 images/spacer.jpg Kompositum 2000 Germany 29 Christina Kubisch 1948 288 images/spacer.jpg echt - falsch 2000 Germany 29 Christina Kubisch 1948 289 images/spacer.jpg Klang Raum Licht Zeit 2000 Germany 29 Christina Kubisch 1948 290 images/spacer.jpg Das Original 2001 Germany 29 Christina Kubisch 1948 292 images/spacer.jpg Licht Spuren Raum 2001 Germany 29 Christina Kubisch 1948 294 images/spacer.jpg Lichtanlage 2001 Germany 29 Christina Kubisch 1948 295 images/spacer.jpg Sanierung 2001 Germany 29 Christina Kubisch 1948 296 images/spacer.jpg Durchsicht 2001 Germany 29 Christina Kubisch 1948 297 images/spacer.jpg Lichtspuren 2002 Germany 29 Christina Kubisch 1948 298 images/works/Kubisch-2002-Dreiunddrei.jpg Dreiunddreißig Felder The installations relate to the history of the church, creating a new awareness of the spaces through the application of flat loudspeakers, computer-generated speech, black light and white pigmented loudspeaker fields. Vier Tafeln (Four Tablets) is a four-channelled synthetic language composition in space, with the texts of the four epitaphs in the entrance hall of the church providing the source material. Statthalter (Governors) takes as its central theme a space in the tower, the former winter church. Portraits of all the church ministers once hung here. Only their traces remain - lighter patches on the walls. It is precisely on these 26 places that Kubisch has installed flat loudspeakers that emit a recitative and monotone web of voices that reproduce the life histories of the churchs ministers. The Diapason the belfry is inspired by the architectonic conditions of the massive vault. Here white pigmented loudspeakers are arranged in three fields on the floor. Their sounds are made of floating, quietly changing sound surfaces which awaken associations with the absent sounds of the former bells. At the same time, they reverse the architectonic conditions: Kubisch creates an impression of immateriality in contrast to the massive character of the barrel vaulting. 2002 Germany 29 Christina Kubisch 1948 299 images/spacer.jpg Licht - Klang - Spuren 2002 Germany 29 Christina Kubisch 1948 300 images/spacer.jpg Christina Kubisch, Zeichnungen und Partituren 2002 Germany 29 Christina Kubisch 1948 301 images/spacer.jpg Arkadien 2002 Germany 29 Christina Kubisch 1948 303 images/spacer.jpg Partituren aus 30 Jahren 2003 Germany 29 Christina Kubisch 1948 307 images/works/kubisch-2004_Berlin_2.jpg Zwölf Signale 2004 Germany 29 Christina Kubisch 1948 308 images/spacer.jpg Kabel und Verbindungen 2004 Germany 29 Christina Kubisch 1948 309 images/spacer.jpg Versprochene Paradiese 2004 Germany 29 Christina Kubisch 1948 310 images/spacer.jpg Zeitversetzt with Bernhard Leitner 2004 Germany 29 Christina Kubisch 1948 311 images/spacer.jpg UV-Fotografie 2005 Germany 29 Christina Kubisch 1948 312 images/spacer.jpg Electrical Walks 2005 Germany 29 Christina Kubisch 1948 315 images/spacer.jpg Sichtbare Stille 2006 Germany 29 Christina Kubisch 1948 316 images/works/kubisch-2006-lichthimmel_gr.jpg Licht Himmel The light sound installation for the more than 100 m high industrial building, a former gas tank, consists of 212 special light bulbs and a 14 channel sound environment. Sound and light are site specific and relate to the architecture and material of the industrial building. 2006 Germany 30 Carsten Nicolai 1965 4264 images/works/Nicolai-2003-funken.jpg funken (installation) Sparks discharge on a wall and appear in the form of short light flashes. The flashes light up and are accompanied by a very short impulse sound, which is perceived earlier by the visitors than the light flashes. In contrast to the fixed positioning of the 18 electrodes, the sequence of the sparks is andomly defined. Thus the resulting image the sparks draw is constantly changing; the permanent interplay of light and sound cause a oscillating effect. Accessed 12.06.2009 from Spark generator, electrodes 2003 Germany 30 Carsten Nicolai 1965 321 images/spacer.jpg Major Group Show 1994 Germany 30 Carsten Nicolai 1965 323 images/spacer.jpg Produktionen 1999/2000 1999 Germany 30 Carsten Nicolai 1965 328 images/spacer.jpg Major Group Show 1997 Germany 30 Carsten Nicolai 1965 339 images/spacer.jpg Major Group Show 2002 Germany 31 Francisco Lopez 1964 347 images/spacer.jpg unknown Bild und Ton series 2004 Germany 31 Francisco Lopez 1964 353 images/spacer.jpg unknown 2004 Germany 31 Francisco Lopez 1964 373 images/spacer.jpg unknown 2005 Germany 35 Scanner 1964 403 images/works/scanner-1998-person.jpg per->Son A series of performances and collaborations featuring Pauline Oliveros, Anthony Moore. F.X Randomix, Andres Bossard,Frances-Marie Uitti, Stephen Vitiello. Each artist would lead an improvisation. Mine explored the tonal qualities of extreme quiet pitches and drones. 1998 Germany 35 Scanner 1964 413 images/works/scanner-2000-battery.jpg Battery Participating artists: Daniel Pflumm, Elektro Music Department, Thomas Brinkmann, Carsten Nicoli, Bernd Ruzicska, Chicks on Speed, Felix Kubin, Miki Yui and Felix Hahn A wall mounted work comprised of around 2500 cassettes donated to the gallery by local people. Arranged in a colour coded order the cassettes become a wall of colour and are only suggestive of sound. There is no amplification for the music contained within as the work merely implicates sound in the memory of the viewer. By employing cassettes as the medium, the work returns to a medium that has been hopelessly erased from the market by the advent of a digital economy, but one that still resonates with associations – a homage to a sound technology of the past. 2000 Germany 35 Scanner 1964 454 images/works/scanner-2005-train.jpg Sound Train A production with German artist Maix Mayer and KunstRäume. A live performance and film projection around theme of railways, history, locomatives and the double. Passengers became audience by travelling to the show by train. The performance was both indoors and outdoors. 2005 Germany 35 Scanner 1964 460 images/works/scanner-2005-messea.jpg Messe - Macht des Klangs Messe is a) divine service, b) a certain type of musical composition and c) a place for trade and exhibition. Over a series of four nights this collaboration in the extraordinary former Soviet Pavillion presented a work around three completely different spheres - religiousness, art and economy - through music, dance and light in the quasi-ecclesiastic architecture. The Soviet Pavillion corresponds in the cityscape with the Russian church that is in the immediate vincinity to the German Library and to the Bio-City Leipzig and other modern landmarks of Leipzig. The huge sacral pillored hall is a historic monument and symbolizes not just the ambivalent history of the secular trade fair but also the conflicting role of the former USSR for the former GDR and what corresponds with this political model today: USA, China etc. The soundtrack attempted to offer a picture of society through voice and harmony. Following a theme of power and engagement with political ideology, I used historical references to requiems and masses, moving through a series of moods and textures that sought to present an overall image of authority and control in a seductively organic fashion. 2005 Germany 36 Steve Roden 1964 479 images/spacer.jpg Tulpas also two drawings and the text Some Thoughts on Beauty 1998 Germany 36 Steve Roden 1964 514 images/spacer.jpg Heizlufter 1999 Germany 36 Steve Roden 1964 542 images/spacer.jpg unknown (live Collaboration w/ Frank Bretschneider) 2004 Germany 36 Steve Roden 1964 1218 images/works/roden-2002-light_forms.jpg light forms in 1997, i was in sheffield england, sleeping in a small room in the home of saxaphone player mick beck. it was raining rather loudly, and i woke up out of a dead sleep in the middle of the night and wrote down the phrase truth is the bell. bell is the truth on a piece of paper and fell back asleep. when i awoke the next morning, i had no idea why i had written this text. in 1998, i was in liverpool england to participate in isea 98. i was visiting a large cathedral and the bell ringer showed me a book of scores for bell ringing by jasper snowdon. it was written in the 1880s, (and still apparently in use). these scores were not only very beautiful; but had an uncanny connection to much of my own visual work. in 1999 i visited berlin for the first time to partipate in the sampling rage festival at the podewil. we wandered into the singuhr - hoergalerie in parochial next door to find a very beautiful installation by julius. i hoped someday to make a work for this beautiful space. in 2002, carsten seiffarth called me on the phone to ask about my performance for the resonanzen exhibition, and told me that the evening would have a slight theme to it - light . he then asked me if i would be interested in doing an installation in the singuhr - hoergalerie in parochial. a week or so later i found a 1944 edition of jasper snowdon s book - a coincidence too rich to ignore! while looking at these drawings; the church, the notion of bells and the notion of lights collided. in developing the performance for saarbrucken i began to use the sounds of various light bulbs tapping together... to be played in total darkness...their fragile glass surfaces and tiny springs. for the installation at the singuhr - hoergalerie in parochial, the light bulbs become the bells as their sounds float around a space where bell sounds have always existed. the visual element is a simple abstract film, shot with my super 8 camera and transferred to video. the first and last images are a translation of the phrase truth is the bell, bell is the truth done using my own method of alphabet translation via hand movements. the rest of the imagery was created using blue and red light bulbs and stencils following the line patterns of jasper snowdon s bell scores. as always, my own interest is not particularly in the bells nor the lights - rather in what these two things can inspire within myself and my own working process (the limitations of making sound with a lightbulb, the deviation from original intentions in using a score as an aesthetic presence, the untranslatable nature of a sign language known only to the speaker , etc.). the final work is not about lights, nor is it about bells - but is an abstract presence developed through these things to simply exist as sound and visual music. - 2002 Germany 22 Christian Marclay 1955 703 images/spacer.jpg Arranged and Conducted - 1996 Germany 22 Christian Marclay 1955 705 images/spacer.jpg Christian Marclay - 1994 Germany 67 Tacita Dean 1965 741 images/works/Dean_Tacita-jukebox.jpg Jukebox 1 Jukebox is made up from ambient sound recorded in eight coastal locations around the world. Each of the locations sits on a longitude line and are 45 degrees apart, starting with Greenwich which is on the meridian line at 0 degrees. All the sound was recorded between midday on Friday to midday Saturday, which was the point in the week when 1999 became 2000, and each hour transferred onto a separate CD. The jukebox plays any of the 192 CDs the viewer wishes to select so that they can choose at what point to start listening in and in which place. 1 console; 3 CD changing mechanisms; 192 CDs; 2000 Germany 71 Michael J. Schumacher 1961 774 images/spacer.jpg MAKMix an installation with 13 iMacs - 2000 Germany 71 Michael J. Schumacher 1961 789 images/spacer.jpg Room Pieces One and Six 8 channel continuous sound installations - 1995 Germany 71 Michael J. Schumacher 1961 790 images/spacer.jpg Instances and Opportunities 8 channel continuous sound installation with 4 stereo tape loops, - 1992 Germany 71 Michael J. Schumacher 1961 791 images/spacer.jpg Untitled Installation with Electric Guitar stereo sound installation consisting of an electric guitar playing itself with preparations excited by an E-bow - 1992 Germany 72 Toplap 2000 796 images/spacer.jpg remote control lounge by J.Rohrhuber - James Mc Cartney sends open sound control code from Austin to Hamburg and changes Pattern parameters together with local participants - 2000 Germany 7 Kaffe Matthews 1961 798 images/spacer.jpg Elevator Music Julian Rohrhuber - 2002 Germany 72 Toplap 2000 803 images/spacer.jpg JITLIB based live coding network jam over laptop speakers as part of the changing grammars symposium. TOPLAP is born that evening in a smoky downtown bar (Zoe) - 2004 Germany 72 Toplap 2000 807 images/works/toplap_2005-tranmediale.JPG Ten members of TOPLAP jam Represented environments and languages include ChucK, JITLIB, Pure Events, Musique Literale, SuperCollider,, Perl, The Thingee and Lingo. images - 2005 Germany 58 Bernhard Gal 1971 837 images/spacer.jpg Airport Airport – the harbour of air – combines aerial sounds from the interior and the exterior, in correspondence with the location and context of the Music Instruments Museum Berlin: the existing acoustic environment of the new museum entrance with its flows of passing traffic merges with sound recordings of musical instruments from the museum (accordeon, flute, guitar, harp, clarinet, crumhorn, trombone, trumpet, and several percussion instruments). Blown air mutates into „driven“ air, the tides of urban traffic are mirrored in periodically recuring sonic movements. Instrumental sounds are diffused by a grid of twelve loudspeakers, thus chords and tonal mixtures can be also perceived as a spatial phenomenon, interactions of neighbouring frequencies result in microtonal beatings. The underlying electroacoustic composition is subdivided into 32 one-minute long time windows. The change between sections is made audible through various bell sounds. Twelve loudspeakers are installed in the roof construction of the Museum’s newly built entrance area, facing downwards. They are positioned in a straight line, parallel to the adjacent street, Ben Gurion Strasse. Therefore it was necessary to a priori include this specific sound constellation in the conceptual development of Airport. The directionality of traffic flows is reproduced through virtual sound movements, real and prerecorded trafic sounds as well as instrumental sounds move from the left to the right, or from the right to the left. The concrete installation space of Airport is defined by short pulses (flageolet tones, key clicks, percussive sounds), At the same time (as is the case with all sound installations in public spaces) the inevitable and anticipated fusion of the sound installation with its surrounding urban sound reality also permits the experience of a quasi unbounded sound space. Ultimately, every acoustic event can become part of the installation, and thus a musical instrument by itself, as long as the listener is able and willing to perceive it in such a way. Many thanks to: Thomas Ertelt, Martin Supper, and the entire stuff of the Music Instruments Museum Berlin Site-specific sound installation 2006 Germany 58 Bernhard Gal 1971 845 images/works/gal-2002-machina.jpg Machina temporis We regard the cloister ruin as a machine for experiencing time, in a spiritual context as well as in terms of its architectural-functional construction. .....- ...Bernhard Gal / Yumi Kori The now-ruined Franciscan monastery in Berlin’s Mitte district was built in the 12th century and severely damaged in World War II. The south side and roof of the church have disappeared; the original spatial concept can be experienced only as a trace. In Machina temporis, Bernhard Gal and Yumi Kori try to revive the spatial dynamic of the site, without reconstructing the building itself. Translucent textiles accentuate spatial zones that were originally created by the archways of the aisles. By moving under the fabric, the visitor passes through zone after zone. Under each textile screen, he experiences a separate acoustic zone based on concrete sound recordings carried out on site (Zone 1: the distant hum of an airplane, Zone 2: bells of neighboring churches, Zone 3: rain). In the apse, the visitor is finally wrapped in a multi-dimensional sound space created by 12 loudspeakers positioned in a semi-circle, hidden behind red textiles in niches of the apse. Here, the previously separated acoustic layers come together creating a virtual acoustic sound space that merges with the real environmental sounds of the city.... Translucent fabric, stainless steel wire, CD 2002 Germany 58 Bernhard Gal 1971 848 images/works/gal-2000-Defragmentation.jpg Defragmentation/red Defragmentation/red was conceived specifically for an underground water storage tank in Berlin’s Prenzlauer Berg district and its circular architecture. Glowing red acrylic tubes float in the darkness of the concentric passageways, an abstract apparatus for measuring time and space. The bottom of the building is covered with water whose dark surface creates an effect of endless depth. The red columns of light are discovered successively, one after the other. This architectural installation is supplemented with a sound continuum composed of shifting sound textures that wrap the visitor corporeally. Micro-tonal sound sequences change in correspondence with the visitor’s position and motion through the space. The apparent boundlessness of the dark labyrinth is temporally and spatially disorienting, and the circles of the water reservoir expand into infinity. Hand-scraped acrylic tubes, reflector lamps, 2000 Germany 19 Janet Cardiff and George Bures Miller 1957 854 images/spacer.jpg The Berlin Files features film sequences that echo the disjointed space and time of dreams - a photo of a woman, a frozen landscape or a run-down night club. The voiceover hints at narratives of search, danger and loss echoed in the soundtrack. Images are used to trigger emotions while three-dimensional sound seeps beyond the film to merge celluloid reality with our own. The audience sits in the middle of a 12 sided dark room surrounded by 12 speakers with a film projected onto one wall from scenes shot in Berlin and Canada. The film creates an abstract narrative into which the audience may enter at any point. Film 2003 Germany 43 Achim Wollscheid 1962 882 images/works/wollscheid-2005-wall.jpg wallfield The house is completely covered by a grid of uniform windows, which somehow redfines what usually creates an in- and out-side: the wall. So I decided to open the wall to sound, as well. 3 units consisting both of mikes and speakers are installed at 3 walls of the house. Outside sounds can be recorded and replayed in the inside and vice versa. Loudness and (a computer directed) degree of sound-transformation can be adjusted - ranging from original to abstract. - 2005 Germany 43 Achim Wollscheid 1962 883 images/works/wollscheid-2004-redlighthaze.jpg redlighthaze A portion of the facade is overlaid with a grid of red LEDs, which change lightness or pattern according to real-time sound analyses. This interface between architecture and the by-passers is created by the relationship between common sound sources (the voices of passers-by, the noise generated by local traffic) and the programme that regulates the transformation. - 2004 Germany 43 Achim Wollscheid 1962 884 images/works/wollscheid-2004-inter.jpg intersite The sonic cityscape mirrored on 2 sides of the facade. Traffic noise and voices of the bypassers change pattern and intenstiy of the LED-net hovering in front of the building. - 2004 Germany 43 Achim Wollscheid 1962 885 images/works/wollscheid-2004-missing.jpg missing recipient The movement on the stairs in the lobby of the Akademie fuer Tonkunst, Darmstadt, is monitored and triggers a correlative movement of light. At the same time the environmental noise is recorded, transformed in realtime and re-played. - 2004 Germany 43 Achim Wollscheid 1962 886 images/works/wollscheid-2004-flex.jpg flexible response The sounds in the inside (lobby) trigger the light movement on the windows. Thus - during office hours - the glass facade translates and projects fragments of the social choreography. At night the interactive part is replaced by a self generating light composition. - 2004 Germany 43 Achim Wollscheid 1962 887 images/works/wollscheid-2003-curtain.jpg light curtain The light-system for Tetsuo Furudates piece The auditory sense of Mr. Roderick Usher, performed in October 03 at the Festspielhaus Hellerau, Dresden. Sound (by Tetsuo Furudate, Edwin van der Heide and Leif Elggren) and light were networked - sound triggered changes of light and light triggered changes of sound. - 2003 Germany 43 Achim Wollscheid 1962 888 images/works/wollscheid-2003-inter.jpg interflux a proposed artpiece for a (still to built) school in Munich, Germany. interflux consists of 64 rectangle mirrors hinged on universal joints (meaning they can turn in any angle/direction). Each mirror has a blue and a clear face. Cameras (included in the checkerboard grid) monitor the movement of people on both sides of the system and change the position of the mirrors - in regard to the specificities of the movement on one hand and an array of compositional presets on the other. - 2003 Germany 43 Achim Wollscheid 1962 889 images/works/wollscheid-2003-interflow.jpg interflow interflow monitors the movements of the bypassers and conceives, correlatively, a changing reflection of both movement and context. interflow consists of 2 elevated steel frame-systems, containing 16 double faced high-grade steel-mirrors. Universal joint bearing facilitates a 360 degree turning of each mirror which is generated by 2 motors contained in the steel frame-system. The center of each steel-frame contains a digital camera. The steel frame-systems are directed toward 2 pathways leading to the hospital. The cameras monitor the bypassers movements and send the respective data to a computer, which according to that movement, defines angle and torque for each of the mirrors new position. The camera-computer-unit operates on pattern-recognition. The software generating the mirror-movement can be constantly adjusted to the given (and changing) conditions. - 2003 Germany 43 Achim Wollscheid 1962 890 images/works/wollscheid-2002-square.jpg square The grid, a modernist remnant, seems something I always return to. In the case of the halogen square (photos taken by R. Yau at the Beyond Music festival, LA) its non-hierarchical openess invites for access and use. The sounds of the environment (includingn the acting audience) are recorded, processed in real time and re-played creating a background to the real sonic happenings. The light on the square changes according to intesity, rhythm and direction of sound. Further versions of this system are intended to use both microphones and camera for recording to facilitate an equal disitribution between sonic and visual information. - 2002 Germany 43 Achim Wollscheid 1962 891 images/works/wollscheid-2002-resolving.JPG resolving interactions The system consists of 4 light-units with 2 sensors each, a computer and a display. Each light unit contains 8 beams, which are operated by dimmers. Movement in the corridor segment triggers the sensors , whose signals are transformed by the computer program and direct the energy supply for the dimmers. The systems representation on a display on one of the walls happens in in correlation with the actual light movement on the floor. If 2 or more persons access the system, the one person can become the onlooker of the other. Movement triggers and transforms the light, whose movement might reflect and transform the corporate action. Situated at one of the central floors of law-court Frankfurt the system is a prototype for real-time installations, which layer input and output. (permanent) - 2002 Germany 43 Achim Wollscheid 1962 892 images/works/wollscheid-1999-connective.JPG connective memory is situated in the recess hall of a technical high-school where it scans the sound profile of the pupils voices. According to compositional patterns certain sonic forms are selected, recorded and stored in a digital memory. In case a similar sound event takes place, the memory adds a related sound formation to the live sound. While the system is at work, the red squares at the ceiling are lit. At the same time the outside Ñcheckerboard light-square translates the sonic impulse into a game of moving lights. Composition is thus conceived as an interrelated system of filters: compositional density (or openness...) results from the listeners participation and the modes they preconceive relatedness. The system is open in 2 respects: via modem the computer is be remote-controlled, thus the program can be adjusted to possible changes in the profile of sonic communication at any time. And as part of an educational program the pupils are introduced to the basic features of the program and encouraged to experiment. (permanent) - 1999 Germany 43 Achim Wollscheid 1962 893 images/works/wollscheid-1999-nordpol.JPG Nordpol bridge The last year of the actual planning process included the development of the (pedestrian) bridge lighting, which becomes the artistic issue. The glass of the railing left and right will be lit only if one or several persons cross. Each crosser has his or her own halo, which accompanies the crossing and grows or shrinks in diameter with in- or decreasing walking speed. According to the specificity of each movement the respective halo will program its own rhythm. When meeting or crossing another halo the interference of both rhythms will generate differentiated patterns. The movement of the pedestrians, recorded by a series of sensors along the bridge is interpreted by the computer as notes on a virtual score, while the additional patterns create the base for an interactive improvisation.(permanent) - 1999 Germany 43 Achim Wollscheid 1962 894 images/works/wollscheid-1993-clapper.jpg clapper system 1993 - 1998. To build a transportable, flexible system that allows for site-specific sound-installations followed the line of thought that if an (electronically) reproduced sound sounds different in each environment, why not actually make this sonic environmental factor the exclusive source of sound... The clapper-system plays objects, rooms or spaces, according to the placement of the electronically driven clappers and the specific resonance of the materials and objects to which they are attached. The system consists of a computer program, an interface and several (min 16, max. 128) magnets, which can be independently operated in respect to both clapping speed and dynamics. During the first public performance of this system at Kawasaki City Museum as part of the sonic perception festival, the magnets were fixed beneath the seats in the audience. The installations that followed (Seattle, San Francisco, Frankfurt/M) examined the sonic body of spaces or object constellations of our everyday usage. The last version of the system is equipped with a real-time sound-transformation interface - meaning the harmonic spectrum of sound events in spaces or places (voices of engine sounds for example) are recorded, analysed and transformed into percussive patterns. - 1993 Germany 43 Achim Wollscheid 1962 896 images/spacer.jpg Auto-Autoradio-Neue Musik - 1995 Germany 43 Achim Wollscheid 1962 897 images/spacer.jpg Der gefasste Raum - 1995 Germany 43 Achim Wollscheid 1962 898 images/spacer.jpg Das unsichtbare Dritte (The Invisible Third), on sound and the transformation of public space - 1996 Germany 43 Achim Wollscheid 1962 899 images/spacer.jpg Fish n Chips digital real time sound transformation - transformation of (the pop chanel) HR3s music into a program of contemporary music in HR2. - 1996 Germany 43 Achim Wollscheid 1962 902 images/spacer.jpg Der freie Fall digitized lecture composition, - 1997 Germany 43 Achim Wollscheid 1962 905 images/spacer.jpg 10 transformers - 1998 Germany 43 Achim Wollscheid 1962 908 images/spacer.jpg Installation collaboration with INDEX - 1999 Germany 84 Sam Auinger 1956 1064 images/works/Auinger-2006-elevated.jpg tamtam In the summer of 2003 , we were offered the chance to play in the small Hofgarten in Innsbruck for two months. From this work, a new compositional form or method developed for us that we call Farben (colours). Farben is a sound installation in public space. It creates a poetic soundscape that plays with the visitors spatial and temporal perception. The space gets faster and slower, becomes lighter and darker. The starting point is public space, with its sounds and noises, in its architectonic, social, functional and rhythmic structure. From these colours (characteristics) the musical language of the composition develops, the sound material and the compositional strategy, which constantly renews its dialogue with the acoustic events at the site. Parts of the sound material are recorded on site, pre-produced material is tuned on site and the composition is created in the actual space.Participants in the project: construction Gerd Thaller web/documentatio Dany Scheffler electronics Gerald Schalek+Roland Babl. Production by tesla-berlin e.V. in cooperation with Förderverein Klosterruine e.V. Duration: permanent; Technical components: 5 2006 Germany 84 Sam Auinger 1956 1068 images/works/Auinger-1993-lost.JPG Lost Neighborhood With Bruce Odland. At the Kongresshalle in Berlin O+A made a resonance installation in support of S.O.S., a Solar Art Work by Peter Erskine. A tuning tube was placed at the entryway to collect and transform the sounds of busses, voices of visitors, passing cars, and the fountain into a harmonic series. This Set of real-time melodies and harmonies was projected from a single planet speaker pointed up at the overhanging parabolic cement roof. The resulting ambient drone composition was a coupling of the architecture and resonance. The piece resonated from Spring to Fall equinox. - 1993 Germany 100 Brandon LaBelle 1969 1105 images/works/Labelle-2006-duck.jpg duck duck goose Welcome to duck duck goose! Please feel free to take a whistle, have a seat and listen to the headphones. What you’ll hear are sounds I’ve collected over the past week, and made into an audible diary – of ordinary events, surprisingly special moments, abstract observations…wishes and dreams, realities and interactions, of a body moving through a city. The sounds in the headphones are coming to you through a motion-tracking treatments: your movements in the space compose and treat the sounds you are hearing... You may just listen, or if you feel like playing along, please blow the whistle whenever you feel you hear a “change” in the sounds. This is up to you to decide – what kind of change has occurred? Is it a new sound, a change in an existing sound, a different feeling…a sudden rush of wind, a sweet whisper, a kiss against the ear… You are welcome to interpret this as you like, and to blow the whistle as quietly, as gentle, as musically, as you feel is needed. Your sounds are also being treated with a software program and amplified through speakers outside onto the street. So, let the air blow! Space and music composition share similar strategies defined by marking limits: with space this surfaces through the demarcation of borders, the distinction of private from public, and the formulation of a “psychological infrastructure” which sees what is inside different from what is outside, determining what is allowed to move freely across these related boundaries. With music, such strategies of marking limits appears through compositional structures that decide what is correct and what is incorrect, from the right note to the bad one, from the correct form of playing to the incorrect form, all of which come to impose a sense of values onto the accidental and ambiguous field of sound. Engaging with boundaries, duck duck goose invites the networking of different gestures, sounds, and spaces to undo the understanding of what belongs and what doesn’t, spatially and sonically. Spending three days in the city of Berlin, an audio work is made from field recordings and their manipulation, which acts generally as a kind of “diary” to share with visitors: these sounds are treated through motion-tracking software, turning movement in the space into a compositional structure. Visitors are invited to listen to the work through headphones, occupying chairs placed in a circle within the space; in addition, they are asked to respond to the work by blowing a whistle every time they feel a change has occurred – from pitch changes to textural changes, ambient moods to the sudden appearance of new sounds, each becomes a question to be answered by the individual visitor-listener. Visitors come to form an audible addition to the work, while creating their own collective ensemble. This ensemble and their playing are further amplified through a set of speakers mounted outside the space, on the street, some 25-metres from the entrance, after passing through computer-modification, looping the audio work back to its origin within the city. - 2006 Germany 100 Brandon LaBelle 1969 1109 images/works/Labelle-2006-phantomgogo.jpg Phantom Radio Go-Go The collection of radio memories is presented in the café, including booklets presented on the tables and seven wall-mounted CD players available to visitors. Table cloths are placed on the tables and visitors are invited to write their radio memories onto the cloths, which will be added to the booklets during the course of the exhibition. - 2006 Germany 100 Brandon LaBelle 1969 1110 images/works/Labelle-2004-backstage.jpg Backstage For this work, I was interested to work more directly with the given architectural space so as to create an acoustical/musical experience — to turn the space into an instrument. What struck me about the highly idiosyncratic space of the gallery was its parallel archways featured on either end of the space. Essentially, the space is structured around two chambers connected through a series of vaulted ceilings, forming a symmetrical lay-out. The parallel archways and chambers struck me as forming a “stereophonic architecture” where each chamber acts to create a full-dimensional stereo-space. It was this that I attempted to accentuate in the installation.Working with these two main archways, large wooden doors were built to fit perfectly inside the archways. In addition, the doors were built to be able to swing completely around in a 360 degree rotation. In this way, the two chambers could be completely separated off, forming a series of three smaller spaces out of the single space.In conjunction with this architectural intervention, loudspeakers were mounted at the very far-ends of the space. Amplified through these speakers were two main sound events: the first, being a series of frequencies tuned to the space so as to create highly active beating patterns (between 800 and 900Hz, and 300 and 400Hz). These were structured to create a dialogue between the two sides/chambers of the space: essentially, one set of frequency was positioned on one end, while the other appeared at the opposite side, roughly one at a time. Such a situation encouraged visitor’s to walk through the space, moving the doors so as to activate the acoustical experience by modulating the frequency patterns, blocking out beating patterns while the doors were completely closed, and allowing them to happen when open. In addition, a visitor could occupy one of the end chambers by “locking” themselves in, thereby hearing only one frequency. In addition to the use of frequencies, I create a second audio event by amplifying a recording I made of a crowd found backstage at a concert I attended. This recording consists of the din of voices, where no single voice is understood. I played this recording in the space, while walking through the space, opening and closing the doors and recording the sounds through a single stereo microphone. I then played back this recording, and proceeded to walk around again, moving the doors and making another recording. This act was performed 7 times, until I was left with an abstracted recording in which the acoustics of the room were made more apparent—it is important to stress that such acoustical play was made more complex by the act of moving the doors, walking in the space, again and again. In this way, the final recording embodied the architectural specificity of the installation as it interfered with and adjusted the found acoustics of the space. This second recording was amplified as a second audio event, after the frequency work. This created two distinct situations: the first (frequency) being defined by inviting visitor’s to activate the space, and the second (crowd recording) being defined by a recording action whereby I performed the space.As another level to the work, a single speaker was mounted into each door. This amplified a series of “small sounds” prepared from found objects in the church: textural, dry, intimate, personal, these sounds occurred at random points, creating an additional sonic and spatial layer, for the door-speakers would effectively be located according to the movements and position of the doors, forming a playful placement of local sound. - 2004 Germany 100 Brandon LaBelle 1969 1122 images/works/Labelle-2004concert.jpg Concert The first video consists of finding people in spatial situations: sitting at a cafe table, waiting in line, walking through an open square, sitting in an open window, going up an escalator. The second and third videos act as translations of the first: I asked various people to listen to the sounds of the first video, without seeing the corresponding images, and attempt to describe what they are hearing - to tell us the scene, the location, the time and atmosphere.The final work is presented as a trio, with the first video in the center, bracketed by peoples responses. The only sound is that of the second and third videos, which replaces the original soundtrack in favor of people’s vocal descriptions. The work forms a play of place and its aural life by recasting the urban environment with personal portraits. Double video work presented on three monitors 2004 Germany 100 Brandon LaBelle 1969 1131 images/works/Labelle-1998-maps.jpg maps of tenderness works with processed field recordings - intense, differently layered sequences of sound - varying from the more fragmentary to the composed. The activity of sound-making turns the passive sense of listening into an active response. Listening, as part of sensory-perception, is bound up within the world as part of the processes which define subjectivity and through which subjectivity understands itself in relation to things. - 1998 Germany 100 Brandon LaBelle 1969 1136 images/works/Labelle-2003-Active.jpg Active Refuse In collaboration with Ken Ehrlich.. In July 2003, E+L completed a short residency at Hull Time Based Arts, U.K. where they mapped food distribution in the city and created a performance-picnic as the culmination of the research. E+L are now interested in looking into urban development in Berlin and thinking about food, food waste and specifically ginger, which was the ingredient which came from an unknown location in the last project. With every other ingredient, E+L were able to identify the location of origin and shipping... Ginger was the only unknown. Traveling to Berlin, ginger will function as the operative ingredient: as the unknown in Hull, it leads us to explore the underside to food distribution: waste management. Taking cues from a Douglas Huebler piece created in 1969 (Location Piece #13 - in which the artist buried three jugs of water in various locations in the Mojave desert, as remedy for future thirst), E+L will map recent urban development sites in Berlin, as indications of architectural production, along with sites of waste and waste management. Through such a dichotomy, the relation between the built environment and waste management will be juxtaposed, with the ultimate aim of bringing into relief the inherent co-production occurring between objects of urban vision and the debris left-over. This mapping procedure will eventually dictate proposed locations for the planting of ginger plants - ginger has long been used as an active remedy, aiding in digestion and intestinal blockage, and will come to function as coordinates in the city demarcating the project. (As a kind of shadow, it is worth mentioning gingers use within sado-mashochism; called figging, ginger and its stinging juices are used to stimulate the rectum and anal passage.) In its most distilled sense, the project is a series of overlapping mapping systems that will generate thinking about urban development, waste and consumption and a humble proposal for ginger cultivation in both public and private spaces. - 2005 Germany 100 Brandon LaBelle 1969 1137 images/works/Labelle-2005-opening.JPEG opening/ closing In collaboration with Ken Ehrlich. - 2005 Germany 21 Ryoji Ikeda 1966 1157 images/spacer.jpg cyclo. (w/Carsten Nicolai) - 2001 Germany 77 Hans Peter Kuhn 1952 1172 images/works/Kuhn-2006-Labyrinth.jpg Labyrinth (meikyu 2) Level 3 in the sub-basement of the Akademie der Künste am Pariser Platz in Berlin consists of a large, empty, not quite rectangular space that is 3 levels high, so that from the galleries on the uppermost level, one can look down and into the space. There, in an area closed to the public, an untouchable floor work is installed. Labyrinth (Meikyu 2) picks up on the architectonic situation: the public can look down at the work from the galleries and follow the acoustic patterns that arise as sounds move over a grid of loudspeakers and, as in a labyrinth, seek the path to an exit. Referencing the straight lines and still in-the-rough quality of the concrete architecture, 60 loudspeakers lie on the floor in a strict geometric grid with 10 rows of 6 boxes each. The floor itself is spread with a black carpet under which the cables disappear. On each loudspeaker lies a small fluorescent tube, each one at a different angle. These rods illuminate the loudspeaker cones, but not the floor, which creates the effect that the floor disappears and the observer sees only diagonally-crossed loudspeaker circles. The light is static, while selected sounds move over the grid and sound out the space. These movements correspond to inverted pictures — one sees, so to speak, with the ears, while the eyes perceive the grids resolution, as with printed images. The strong contrast in brightness between the black floor and the lamps creates an impression of infinite depth of space, in which sounds seem to float through space. The heaviness of concrete, the technology of the sound apparatus and lamps contrast with a sought-after sense of lightness — they all lose their actual-technical background and become playful elements. Accessed 31.05.2007 from loudspeakers, amplifiers, computer, mini-fluorescent tubes, carpeting 2006 Germany 77 Hans Peter Kuhn 1952 1180 images/works/Kuhn-2003-Echtzeit24.jpg Echtzeit 24 24 televisions radiate 24 different programs from 24 European countries. The televisions are inserted into columns with the picture tube directed against the wall of the circular building, so that one, standing on the inside, sees only northlight-like flickering reflections of the light at the wall. For short time from one of the programs the sound is sent into the circle, then it is quiet again and one is alone with the flickering of the televisions. - 2003 Germany 77 Hans Peter Kuhn 1952 1181 images/works/Kuhn-1999-Noch.jpg Noch ohne Titel This light- and soundinstallation was commissioned by the exhibition The 20th century - Art from Germany in the National Gallerys museums of Berlin. Each of the 18 coffers of the ceiling contained a fluorescent lamp, every second of them a speaker. Whilst the lamps - stiffened in a wild movement - were installed in a fixed position, short percussive sounds moved from speaker to speaker along the facade at high speed. - 1999 Germany 77 Hans Peter Kuhn 1952 1183 images/works/Kuhn-1997-Potsdamer.jpg Installation auf dem Potsdamer Platz On Berlins largest building site a large number of cranes were working. During the summer 97 they were lit in different colours and and a pattern of flourescent tubes in a second colour was mounted on one side. Over 10 loudspeakers that were distributed over the site sounds similar to the regular building sounds and others that suggested the future situation on the plaza. - 1997 Germany 77 Hans Peter Kuhn 1952 1190 images/works/Kuhn-1995-Schreiende.jpg Schreiende Farben: Knackiges Schwarz As part of the Konsum-project 12 artists were invited to intervene in the former Konsum-shops in 6 villages near the Brandenburg city of Belzig. The salesroom in the village Kranepuhl had 5 white lamps hanging from the ceiling. In the basement there was the former coalstorage - a pitch black room.For the installation the lamps were coloured in strong colours - as you would say in german: screaming colours and screams were to be heard. In the black room one heard a cracking sound - again based on the german word knackig - which is a sound term (to crack, to click) - but can also be used in combination with a colour or in this case with black, where it amplifies the intensity. - 1995 Germany 77 Hans Peter Kuhn 1952 1192 images/works/Kuhn-1993-Diagonal.jpg Diagonale Eight small loudspeakers stand on white pedestals. Short soundbits are moving in a high speed from one loudspeaker to the next until the end of the row is reached. After a silent pause the next sound moves along the path. - 1993 Germany 77 Hans Peter Kuhn 1952 1194 images/works/Kuhn-1992-Ohne.jpg Ohne Titel The former chapel of the Kuenstlerhaus Bethanien in Berlin. On the floor of this space flourescent tubes were placed which were taped in a way that only a slim line of light - about 1 mm wide - could emerge to the top of the lamps. The overexposure by the strong light made them look like floating in space. The audience was only on the gallery in the upper floor. Through 6 loudspeakers small and very soft sound were moving around the audience. - 1992 Germany 77 Hans Peter Kuhn 1952 1196 images/works/Kuhn-1991-1000.jpg 1000-fache Zustimmung 14 loudspeakers were standing on the floor of the tiny gallery in Berlin Charlottenburg. Each speaker was connected to a seperate tape-player. 14 friends were asked to record 72 positive words each on tape. These tapes were played back which took about 14 minutes. Whoever stayed for these 14 minutes received 1000 agreements. - 1991 Germany 77 Hans Peter Kuhn 1952 1197 images/works/Kuhn-1987-Glashafen.jpg Glashafen At the river Spree in Kreuzberg is this small port, directly at the border to former Eastberlin. On the site is the Behala-Speicher a grain storage that was used by the Nazis to store the works of the so-called degenerated artists before it was sold abroad or destroyed. Besides this piles of recycling glass were stored on the site next to the big mountains of different sands from a concrete mixing company. Flourescent tubes were dug into the glasspiles. 14 loudspeakers were spread all over the place with sound effects and music. From the roof of the grain storage expressionist poems were played back through PA horn speakers. Slides of images of the so-called degenerated artists were projected onto the walls of the storage building and the sand piles. The border patrols of the GDR helped to establish a spooky atmosphere due to their boats crossing on the river next to the site of the installation. - 1987 Germany 77 Hans Peter Kuhn 1952 1198 images/works/Kuhn-1985-box.jpg The Box (with Benoit Maubrey). The Box is made of sheets of slate with a loudspeaker inside. Via a socket it is possible to connect a microphone to the loudspeaker and talk into the box. From the outside one cannot hear the speaker in the box. So, the sounds stay inside the box like in an immaterial recorder. They can stay there forever. The Box was shown for the first time in Munich 1985. It was placed in a lockable room with a microphone connected to it. A guard had the key for the room and a guestbook. People could have him open the door and he would wait outside taking care that noone would disturb. One could speak secrets or wishes into the box and was asked to sign in to the guestbook. It was originally planned to ship The Box with the space shuttle into space as an eternal memory of mankind. First contacts with NASA were made when the terrible Challenger accident happened, which made it impossible to realize the project. - 1985 Germany 77 Hans Peter Kuhn 1952 1199 images/spacer.jpg Die Audio Badewanne A large number of old loudspeakers were placed in the tub in the Kutscherhaus bathroom. Under them a blue tinted flourescent tube. Through 2 speakers one heard bird whistles and foghorns. - 1984 Germany 78 Bernhard Leitner 1938 1200 images/works/Leitner-2005-parochial.jpg Sound Dome Destroyed during World War II, the dome of the Parochial Church in Berlin Mitte was replaced by an open truss. The architectural space of the Church is temporarily arched for the duration of the project TONKUPPEL using acoustic means. This arching is to be seen as an upper limit to a vertical acoustic space, to a vertical and spatial sound movement. The sound of a trombone rises from a cylindrical resonant body to the girders of the truss, where an echoing crescendo spreads out forming a dome-shaped corona. The dimensions of the space are thus measured anew in the process of listening. - 2005 Germany 78 Bernhard Leitner 1938 1201 images/works/Leitner-2004-serpentinata.jpg Serpentinata This sculpture, suspended freely and organically in the space, consists of 65mm-diameter plastic tubes encasing a cable core, so enabling safe and free movement within the sculpture. In the piece entitled Serpentinata, sounds flow almost visually through the Great Hall of the Old Castle. The sound-space compositions of linear, punctuated and layered sound movements along a multitude of acoustic sources become archways, snake across the floor or with their space-embracing twists and arcs, lap around those who have ventured into the sculpture. In fact, it is only with the visitors own movement in space that sculpture and ear connect. The flow of sounds, staggered fugue-like in time and space, covering now shorter, now longer paths, becomes according to the direction of the acoustic-lines an encountering, a hasty passing-by, an escort along the way - a progress through straits and expanses. Duration of sound becomes space. The visible sculpture is overlaid with a many-faceted architecture. - 2004 Germany 78 Bernhard Leitner 1938 1204 images/works/Leitner-2001-columns.jpg Field of Sould Columns See related work Streamings - 2001 Germany 78 Bernhard Leitner 1938 1206 images/works/Leitner-1999-Architecture.jpg Sound Architecture Hanging from the ceiling are free swinging metal sheets ­ each made of rolled steel plates, 125cm or 150cm wide, 250cm high and 3mm thick. Sound transmitted through magnetically attached loudspeakers transform the metal sheets into vibrating walls, into resonating surfaces. The 75cm wide space between the suspended walls is filled with acoustic vibrations creating a vital enveloping sound space. Sound material: tubamultiphonics with overtone interferences. - 1999 Germany 78 Bernhard Leitner 1938 1207 images/works/Leitner-1997-WaterMirror.jpg Water Mirror WATER MIRROR, commissioned by the Donaueschinger Music Festival in 1997, gives the Danube temple acoustic shape. By suspending a flat metal vault between the four columns, the sound of the water falling into the Brigach is projected into the arched ceiling. Naturally filtered rushing sounds, without microphones, amplifiers, loudspeakers, electronics, shape the water temple.In the metal arch, which also reflects the optical refractions of the undulating water surface, various frequency ranges are filtered from the deeper-lying, rushing sounds of the Danube. Through the searching, scanning, listening movements of head and body, the person wanders in the frequency fields of the vaulted ceiling. A dance-like dialogue with the Danube floating above one. Commission 1997 Germany 78 Bernhard Leitner 1938 1210 images/works/Leitner-1991-buchberg.jpg Sound Space Buchberg From the center of the courtyard, the trombone rises up expanding into a majestic virtual dome over the polygon of the cornice.From the center of the courtyard, the tuba is raised as slender acoustic-sculptural form vertically into the sky, the upper end fixated in free celestial space. Rising and sinking of the ever same sound. An endless sound-column. - 1991 Germany 78 Bernhard Leitner 1938 1212 images/works/Leitner-1987-soundstars.jpg Sound Stars Fifteen cubes freely drifting in space constitute the constellation of Sound Stars. The sixteenth sound source is placed below the upper body of the person. Sounds are transmitted from within the person to the stars in various directions and from the stars to the person. They are pulled, drawn, hurled. High-pitched, gleaming sound stars form a vault over the lying person. Sounds move on elliptic, circular or free orbits, passing through the person, weaving him into the sound stars. - 1987 Germany 52 Maryanne Amacher 1943 1217 images/works/Amacher-2006-gravity.jpg Gravity part of her Music for Sound Joined Rooms Series - a series of works in which Amacher realizes architeture-based, acoustic choreographies. The installation is built from structure borne sound (sound propagatec through walls, floors, rooms, corridors) as distinguished by acousticians from the airborne sound of conventional loudspeaker projection. Composing the sonic imaging to occur between the different spatial levels in the tower, Amacher stages the spaces themselves as elements of a resonant theatre which visitors can follow physically as well as acoustically. The sound installation is produced in the form of a „Sound Screening“ to be experienced in time as you would when viewing a film screening. The duration is 90 minutes. And begins in the Turmsaal. - 2006 Germany 36 Steve Roden 1964 1219 images/works/roden-2002-moon_gatherers.jpg the moon gatherers (third version) this is the third version of the work the moon gatherers - my first piece to use glass bottles to enhance the sounds of small speakers. the work was inspired by a collage object by american artist joseph cornell which consisted of a bottle with a photograph of the moon inside. the first version was installed at the armory center for the arts in pasadena - a public space where it seemed ideal to hang 20 bottles/speakers from trees - not only as an aesthetic decision, but because the sound would be a bit louder and would tend to drip like water onto the heads of unsuspecting passers by. Klangfeld the second version was created for gallery e/static in torino. because of the close proximity of another sound work, i wanted the listener to have to be very close to a small grouping of 10 bottle/speakers before the sound could be heard - to create a small reflective pool within the gallery space. for the third version in the singuhr - horgalerie in parochial in berlin i want to push the intimate nature of the work, as well as the space itself. thus, this time the piece will be shown in its rawest and most intimate form of simplicity - 4 speakers, and 4 bottles - to create a small space of intimacy and reflection. the sound source for the work is a series of 8 channels of acoustic and electronically processed sounds of the glass bottles being tapped, blown, and played with a violin bow. these sounds were then transferred to 4 channels of 24 minutes running at different speeds so that the piece slowly changes for every viewing . - 2002 Germany 90 Ron Kuivila 1955 1220 images/works/kuivila-2001-gettingtoknow.jpg Getting to to know you Who are you? In the International Personality Profile, you are a vector of true/false responses to a few hundred questions. As such a vector, you can be efficiently typed and pointed towards a career path - policeman, fireman, or teacher? In the New Economy, you are a vector of purchases combined with a postal code, which makes you both a masterful presence that web sites serve and a fungible commodity those sites sell to other sites. The distorted reflections of these fun house mirrors let them know us and, to a remarkable extent, us know ourselves. Conversely, we reshape the world in our own image, endowing technology, along with hurricanes, volcanoes, and even wines, with personality, intention, and even spiritual force. Offering computers in blueberry, tangerine, or lime is a masterful marketing ploy that leads us further down this path. Getting to Know You explores this situation. It focuses on the remarkable coercive force found in technology s ability to mimic the timing and shape of human response.The piece consists of two separate rooms. The first is a hybrid of an interrogation chamber and photo booth. A single, well illuminated chair sits in front of a mirror. Sitting in the chair causes a childlike voice to describe itself with sentences drawn from the International Personality Profile. With the innocent aggression of a child, it also solicits responses. (The imperative beep of an answering machine is added, just make it clear that a response is expected.) If you choose to answer aloud, the childvoice repeats whatever you say in the mindless ritual of being agreeable. The second room is filled with robotic pointers, antennaes that can point at any location in the room. The pointers are always unanimous in their attention, pointing at only one location at any one time. A central pointer prompts the other pointers with the same set of statements heard in the first room. One pointer at a time make a response and each becomes the center of attention for all of the other pointers. The responses are drawn from the Personality Profile augmented with whatever answers have been give by visitors to the first room. The rooms are in a kind of dialectical relation. The interaction enacted in the first room is momentary, individual, and asocial. But the responses made there acquire a sustained presence in the second room. This creates an opening. You can ignore the formalized social nicety suggested by the prompts and respond to the overall situation in any way you see fit. Thus, resistance forms. - 2001 Germany 90 Ron Kuivila 1955 1221 images/spacer.jpg The Idea of David Tudors Rainforest / Rhizom Zwischen 1966 und 1972 komponierte David Tudor eine Reihe von Stücken mit dem Titel Rainforest, die die Versionsnummern I-IV tragen. Die Grundidee dieser Stücke ist die Entwicklung eines Orchesters aus tönenden Objekten mit einer je eigenen Stimme. Als Objekte können sowohl einfache Fundstücke als auch aus bestimmten akustischen Erwägungen heraus erstellte Dinge verwendet werden. Die bekannteste und auch am häufigsten aufgeführte Version dieser Serie ist Rainforest IV, das während eines Sommer-Workshops mit dem Titel New Music in New Hampshire entstand. In dieser Version geht es um die Entwicklung eines Environments aus Rainforest-Objekten. David Tudor schreibt: Rainforest IV hängt von den Erforschung durch den Hörer ab, das Publikum ist eingeladen, sich zwischen den Skulpturen frei zu bewegen. Die Objekte formen ein walk-through environment, das die Unterschiede zwischen Workshop, Installation und Konzert verwischt. Die Partitur besteht aus nichts mehr als einem Schaltkreis und der Anweisung, daß bereits zuvor komponierte Musik nicht verwendet werden sollte. Danach ließe sich zwar jede Art von Musik in Rainforest IV verwenden, doch nicht jede Musik funktioniert. Die Klänge werden für bestimmte Objekte entwickelt, d.h. sie müssen sich den akustischen Eigenschaften der jeweiligen Objekte anpassen. Auf diese Weise entwickelte Tudor eine offene und flexible, gleichzeitig aber höchst disziplinierende Einführung in die Komposition von live-elektronischer Musik. "T Idea of David Tudor's nforest" ist der Versuch Rainforest als Stück wieder ins Bewußtsein zu bringen und das Potential seines Zugangs zu elektronischer Musik und Computermusik vorzustellen. Das Projekt besteht aus zwei Workshops und einer Installation. Der erste Workshop wird nach den Angaben Tudors eine kleinere Realisation von Rainforest entwickeln. Die Teilnehmer des zweiten Workshops, der eine Software zur Klangsynthese vorstellt (James McCartneys "SuperCollider"), werden mit den Objekten dieser Realisation arbeiten und neue Musiken für Rainforest schreiben. Die Ergebnisse beider Workshops werden während der "International Computer Music Conference Berlin 2000" als Installation präsentiert. In seinen Notizen erwähnt Tudor eine mögliche Variante von Rainforest, bei der sich ein bestimmtes Klangmaterial durch Rainforest "bewegt" und dabei größere oder kleinere Gruppen von Objekten aktiviert. Im Rhizome Café wird die Installation daher jedermann zugänglich sein, der sich mit ihr vertraut machen und ihre Möglichkeiten untersuchen möchte. - 2001 Germany 32 Alvin Lucier 1931 1222 images/spacer.jpg Twins - 1999 Germany 32 Alvin Lucier 1931 1223 images/spacer.jpg Empty Vessels - 1999 Germany 58 Bernhard Gal 1971 1225 images/works/gal-2000-cfmw.jpg Of Sound and Time composition for traditional Chinese instruments and three listeners - 2000 Germany 15 Ros Bandt 1950 2297 images/works/Bandt-2006-sonic.jpg Sonic Archaeologies Sonic Archaeologies takes us to the heart of what music is about: the sounding and re-sounding of trans-temporal, cross-cultural, past and present human experience. (Kipps Horn, ASME Journal) [Thrausmatas] collaged sound sources provide a rich web of intertextual interplays with the literal and symbolic content of the ancient texts ... the evocative sound of the aeolian harp [in Mungo] ... its worth hearing the piece for this element alone ... satisfying listening (Michael Hannan, MCA Music Forum) [Thrausmata] was a startling and intriguing essay in marrying contemporary sounds with a dead language and exploring their mutual resonances. (Clive O Connell, The Age) This disc chronicles the work of a true original in Australian music ... [in] Thrausmata ... Bandt aims at a kind of excavation of the imagination, re-creating imagined past sound worlds and setting them against a surviving text ... the demeanour is fresh, inventive and engaging ... Mungo is quite the opposite: a still soundscape evoking vast, sparely punctuated expanses of time and space ... it is one of the most thoughtful Australian landscape pieces I have come across. (Peter McCallum, Sydney Morning Herald) Archaeology involves the uncovering and studying of remains and remnants, usually fragments of an unknown whole. When the term is applied to sound, which is invisible and time-dependent, questions emerge. Can we hear the sounds of the past and if so how? Are they whole or fragments? Is it a philosophical possibility to try to rehear the past, given that no moment can be repeated? The physical listening environment is constantly altering every moment; we have different acoustic spaces with different soundscapes and the listener is a very different conscious being in the twenty-first century from that of the Homeric world, or the inhabitants of ancient Lake Mungo. Sonic archaeology investigates the remnants of ancient language and ancient land as they exist today, as the source material for a modern electro-acoustic reconstruction which celebrates them. From the giant aeolian desert harp of Mungo to the ancient Greek texts of Thrausmata, Sonic Archaeologies attempts to re-sound antiquity so that some of its essence may be rekindled. - 2006 Germany 81 Kurt Schwitters 1887 1254 images/works/Schwitters-1932-Ursonate.gif Ursonate 01 The sonata consists of a written organization of phonetics, with notations in German. No notes, tempi, or formal dynamics are given, allowing the performer a bit of freedom. Schwitters own comments: The Sonata consists of four movements, of an overture and a finale, and seventhly, of a cadenza in the fourth movement. The first movement is a rondo with four main themes, designated as such in the text of the Sonata. You yourself will certainly feel the rhythm, slack or strong, high or low, taut or loose. To explain in detail the variations and compositions of the themes would be tiresome in the end and detrimental to the pleasure of reading and listening, and after all Im not a professor. In the first movement I draw your attention to the word for word repeats of the themes before each variation, to the explosive beginning of the first movement, to the pure lyricism of the sung Jüü-Kaa, to the military severity of the rhythm of the quite masculine third theme next to the fourth theme which is tremulous and mild as a lamb, and lastly to the accusing finale of the first movement, with the question tää?... I do no more than offer a possibility for a solo voice with maybe not much imagination. I myself give a different cadenza each time and, since I recite it entirely by heart, I thereby get the cadenza to produce a very lively effect, forming a sharp contrast with the rest of the Sonata which is quite rigid. There. The letters applied are to be pronounced as in German. A single vowel sound is short... Letters, of course, give only a rather incomplete score of the spoken sonata. As with any printed music, many interpretations are possible. As with any other reading, correct reading requires the use of imagination. The reader himself has to work seriously to becomew a genuine reader. Thus, it is work rather than questions or mindless criticism which will improve the readers receptive capacities. The right of criticism is reserved to those who have achieved a full understanding. Listening to the sonata is better than reading it. This is why I like to perform my sonata in public.Held at El Sonoscop archivo de arte sonoro, Barcelona - 1932 Germany 81 Kurt Schwitters 1887 1257 images/spacer.jpg Ursonate 04 The fourth movement, long-running and quick, comes as a good exercise for the readers lungs, in particular because the endless repeats, if they are not to seem too uniform, require the voice to be seriously raised most of the time. In the finale I draw your attention to the deliberate return of the alphabet up to a. You feel it coming and expect the a impatiently. But twice over it stops painfully on the b...Held at El Sonoscop archivo de arte sonoro, Barcelona - 1932 Germany 85 Walter Fahndrich 1944 1277 images/works/Fahndrich-1990-Klang.jpg KLANG BEWEGUNG RAUM (SOUND MOVEMENT SPACE) Walter Fähndrichs installation undoubtedly belongs to the most relaxed, unspectacular and stimulating musical events of the year. People do not have to pay for admission or to sit still on their concert seats: everybody composes his own work - strolling. This is how music happens live although and because its ingredients come from speakers attached to trees. Every day from 12:00 noon to 2:00 pm and from 5:00 pm to 7:00 pm, as many premieres take place as there are visitors. You can rest in monastic Gregorian music, twined around with clarinets in the spirit of a playful avant-garde; you can listen to the humming of machines, sheltered by a roof of leaves, and think of nature governed by robots like in the film Silent Running; you can wander on and consider the names of herbs and wine recommendations recited with sparse instrumentation as a humoristic element or as the main theme. The symmetrical architecture of the baroque garden and the changing concept of the sounds, which only appears to be arbitrary, complement one another perfectly - for Fähndrichs clear, relaxed arrangements hold the islands of this sounding Bermuda square, within hearing from each other, together in an unobtrusive way. The price of this experience is its transitoriness: when the speakers will be removed next week, SOUND MOVEMENT ROOM will cease to exist. Ars brevis? Not necessarily. For we can be sure that New Music has rarely reached and stimulated as many people in as little time as in Herrenhausen this summer. The organizers are to be congratulated. And let us hope that Hannover will make such good choices even more often in the future. Volker Hagedorn, Hannoversche Allgemeine Zeitung - 1990 Germany 85 Walter Fahndrich 1944 1278 images/works/Fahndrich-1993-Musik.jpg MUSIK FÜR RÄUME (MUSIC FOR SPACES) Fähndrich’s space art takes architectural principles into account. A few years ago, with his installation in the garden of Hannover-Herrenhausen (Germany), the musician followed the rigorous symmetry and the idea of ensemble typical of the baroque period, whereas in the Carolingian Haskenau, he puts the emphasis on the tendency to create individual pieces of art, reflecting the spirit of this epoch. And yet, the ten spots relate to each other through their musical messages, through the sine sounds Fähndrich makes swing, that overlap – and go with the rough Westphalian wind. For a music connoisseur, the composer creates highly complex patterns. Or expressed in a slightly distorted wood-metaphor: a severe music connoisseur gets only the tough nut to crack in Fähndrich’s composition whereas a simple listener can enjoy it without remorse ... ... One might say that Fähndrich’s composing art consists of dry undergrowth music: here a withered cracking, there a hollow thumping, now a knocking, then a rumbling. And those sounds, wonderful and soft. Christian Thomas, Frankfurter Rundschau - 1993 Germany 85 Walter Fahndrich 1944 1279 images/spacer.jpg MUSIK FÜR DEN WUNDERBURGGRABEN The electronic sounds are pulsing slowly in the nave of the former Minorite church in Stein. The long pauses between the darkened sounds are easily associated with the large gaps between the massive columns of the Gothic sacred building. When you enter the crypt, however, restless, organ-like sounds stream towards you – as if you were moving through water. Then again, there seems to be an acoustic dome when one steps between the speakers in the chapter of the church, which diffuse indistinguishable whispers and undulating sounds. On behalf of the Kunsthalle Krems [Museum of Arts of Krems], the Swiss sound artist Walter Fähndrich created a sound installation that will transform the church of Stein (secularized by the emperor Joseph II) into a sound-producing instrument until July 19. Fähndrich measured the Gothic building exactly in order to compose electronic sounds corresponding to its proportions. Their colors, tempos and pitches as well as the frequency of their occurrence are derived from the mathematical measures of the architecture. And yet, one never gets the impression of a purely formalistic construction, but rather of a very lively connection: the space becomes sound and in doing so, its visual perception is intensified as well. Fähndrich’s second music for spaces is even more spectacular, especially so since the Wunderburggraben castle grounds of Dürnstein form an impressive natural space with, on their western side, the ruins of the castle that King Richard Lionheart made famous. The bizarre crags, with names like Tom Thumb, Mule, Hippopotamus or Lorelei, are made to speak: ten small speakers in the same color as the granite are put up in the Wachau Valley and start to sound every day exactly at the time of the astronomical sunset – the singer Blondel has received an electronic lyre. The unusual project is scheduled to run through December. But the inhabitants of Dürnstein need not worry. Fähndrich, who is internationally known for his space-specific, subtly-tuned sound-space installations as well as for his improvisational work on the viola, does not want to drown the little town in loud electronic sounds. The speakers, hardly visible from a distance, diffuse very soft sine sounds that correspond to the twilight. Computer-controlled overlappings create a multi-dimensional spatial weave of sounds which varies every day and also changes for the listeners depending on their position. For fifteen minutes, the natural background noise of the dusk mixes with this fine electronic sound network whose junctions you can explore by wandering around – the natural space becomes a plastic sound sculpture. Reinhard Kager, Frankfurter Allgemeine Zeitung - 1998 Germany 116 Brian Eno 1948 1363 images/works/Eno-1989-haloes.jpg Haloes on commonplace objects taken from a leaflet sold there. Details as follows: 6 pages 21 x 21 centimeters each, multicoloured pictures on black background. - 1989 Germany 116 Brian Eno 1948 1370 images/works/Eno-1996-Airports.jpg Music for Airports excerpts from Enos Music for Airports were played through the airport speaker system every full hour between 10 - 20 - 1996 Germany 243 Yufen Qin 1954 4349 images/works/Qin-1997-Schirm.jpg Schirm 1997 Germany 243 Yufen Qin 1954 4350 images/works/Qin-1996-Farbe.jpg Yan se de chuan (Legende der Farbe) Mao-Jacken, Seide Lautsprecher, Kabel Maße variabel 1996 Germany 255 Wolf Vostell 1932 4351 images/works/Vostell-1963-TV.jpg 6 TV-dé-coll/age 6 TVs, 6 Videoplayer 6 artists videos office archives, telefones dimensions variable 1963 Germany 243 Yufen Qin 1954 4348 images/works/Qin-1997-LuoSheng.jpg Luo Sheng (Fallender Klang), 1997 Germany 115 Oskar Fischinger 1901 1394 images/works/Fischinger-1927-seel.JPG Seelische Konstruktionen b/w, silent. - 1927 Germany 115 Oskar Fischinger 1901 1395 images/spacer.jpg Studie Nr. 1 b/w, silent (originally accompanied by live organ music). - 1929 Germany 115 Oskar Fischinger 1901 1396 images/spacer.jpg Studie Nr. 2 b/w, originally accompanied by sound on record - 1930 Germany 115 Oskar Fischinger 1901 1397 images/spacer.jpg Studie Nr. 3 b/w, originally accompanied by sound on record - 1930 Germany 115 Oskar Fischinger 1901 1398 images/works/Fischinger-1930-Study6d.JPG Studie Nr. 6 b/w, sound. - 1930 Germany 115 Oskar Fischinger 1901 1399 images/works/Fischinger-1930-studie7.jpg Studie Nr. 7 b/w, sound. - 1930 Germany 115 Oskar Fischinger 1901 1400 images/works/fishchinger-1931-studyno8.jpg Studie Nr. 8 b/w, sound. - 1931 Germany 115 Oskar Fischinger 1901 1401 images/works/fishchinger1934-muratti.jpg Muratti Greift Ein (Muratti Gets in the Act) color, sound. - 1934 Germany 115 Oskar Fischinger 1901 1404 images/works/Fischinger-1935-komposition.jpg Komposition in Blau (Composition in Blue) Surfaces dominate in the abstract animated film Komposition in Blau/ Lichtkonzert Nr.1 (Composition in Blue / Light Concert No. 1). Colorful geometric figures are set in rhythmic motion. The music from Nicolai’s The Merry Women of Windsor is impressively visualized through a blending of form and color. Fischinger created wooden cubes and cylinders as three-dimensional animated models, approximately as tall as a cigarette, some of them painted and others covered with fabric. At first the set seems to reveal a room. But then the floor begins to reflect the geometric figures. Cubes perfectly-aligned in a row, forming a flat mosaic-like surface, tumble apart to form a stairway. In this perpetually changing universe, a cylinder pounds at the floor and sets off a series of waves, and a decorative, flat circle flies into the empty space. The beauty of the colored, geometric forms—a yellow rectangle descends gracefully into the frame—escalates to the frenzied magic of the impossible. (Source: William Moritz: Oskar Fischinger , in: Deutsches Filmmuseum Frankfurt am Main, Optische Poesie. Oskar Fischinger Leben und Werk, Kinematograph Nr. 9, 1993, p. 42) - 1935 Germany 79 Andres Bosshard 1955 1436 images/spacer.jpg mooneye vision ruhr check year 2000 Germany 79 Andres Bosshard 1955 1441 images/works/Bosshard-2000-mooneye.jpg M.Y.E: (mooneye) Für die Ausstellung “vision ruhr” im Industriemuseum der Zeche Zollern II/IV wurde die Allee des Innenhofs der ehemaligen Zeche während 3 Monaten zu einem Klangobservatorium. Tieftonvibrationen erklangen täglich in bestimmten ansteigenden und abfallenden Zyklen. Eine Klangmonduhr* machte mächtige unterirdischen Klangwellen hörbar und förderte sie an die Oberfläche. Unmittelbar an der Erdoberfläche waren 25 Meter voneinander entfernt vier Klangsteine aufgebaut. Sie bildeten das Klangfundament für eine bis in 20 Meter aufsteigende Echokaskade. Diese führte die Klangbewegung der Tieftonvibrationen der Allee entlang weiter bis hoch über die Baumwipfel hinaus. . *. Eine “Monduhr* ist ein Ort, wo verschiedene sich berührende Raumschichten miteinander in Beziehung gesetzt werden, so, als ob wir hörend aus dem Mondschatten die Nachtzeit ablesen könnten. Zugegebenermassen ist ohne poetische Verzauberung tagsüber kein Mondlicht zu erspähen. Dafür sorgten aber die in der Allee kreisenden Klangfelder, die über vier Bewegungssensoren von den BesucherInnen abgelenkt werden konnten. - 2000 Germany 79 Andres Bosshard 1955 1442 images/works/Bosshard-2000-wasser.jpg wasserspuren A comunity work created by a large groupe of citizans of Hann Münden together with Atelier Dreiseitl, Kalkmann Kontakt-kunst, Ulrich Westerfrölke, Wolfgang Rossdeutscher. Soundinstallations and media score by Andres Bosshard, landscaping by Bendfeld, Schröder, Franke (Schwerin)10 AM to 10 PM sound willbe broadcast ba the transparent pillars and by the small bench at the upper side of the water bassin. During night hours the waterstructures are mirrored to the fassade of thecity hall just at the left side of the im image - 2000 Germany 82 John Cage 1912 1462 images/works/Cage-1985-asap.jpg As Slow As Possible (ASLSP or ASAP) In 1985 ASLSP was created with the pace indication as slow as possible as a version for the piano but in 1987 John Cage changed it for the organ at the suggestion of the organist Gerd Zacher. The John-Cage-Organ Project in Halberstadt was founded to perform the piece. The piece will be performed for 639 years as slow as possible. This is because in the year 1361, this means 639 years ago counting from the year 2000, the first great organ of the world, the famous Blockwerk organ by Nicolaus Faber was finished. This organ stood in the cathedral of Halberstadt and was the first one with a claviature of 12 notes. The performance started on September 5th, 2001, the 89th birthday of John Cage. The duration of one part of the production is 71 years, because ORGAN 2/ASLSP consists of 8 parts and one is being repeated (639 / 9 = 71). The image above shows the sound sequence from the beginning until August 5th, 2026. The first part ends on September 4th, 2072, the second part begins on September 5th, 2072 The place will be St. Burchardi one of the oldest churches of the city. A pair of bellows in accord with the first Faber organ could be build. Today you can listen to the first triad out of six organ whistles in one small organ that grows during the performance as slow as possible. Accessed 24.04.2008 from - 1985 Germany 89 Tilman Kuntzel 1959 1539 images/works/Kuntzel-1999-hyperreal.gif THE SOUND OF HYPERREAL FETISHES Push the blocks along the iron track - either to the left or to the right. The suspension is connected to a computer-controlled CD player. The movements are determining the rendering of the CD. Pushed to the right, the CD is playing forward, pushed to the left, however, the CD is playing backwards, pushed slowly, the CD is also playing slowly (comparable to a slow-motion-mode); when it is pushed quickly along the rail, the CD is playing fast as in a fast-forward-mode. Whenthe block is not being moved at all, the spot on the CD, which was last played, is repeated continuously until the computer switches the sound off after five seconds. The CD concerned is a unique CD, which has been solely created for this purpose; it contains, in relation to the site, a collection of noise from a pig stable. Iron track, suspension, CD player, computer 1999 Germany 89 Tilman Kuntzel 1959 1540 images/works/Kuntsel-1999-symphonic.gif SYMPHONIC GAME OF LIGHTS Symphonic Game of Lights was an installation in an underground parking garage next to a casino. The artwork was inspired by the moving cars as they navigate through a parking garage. The piece attempts to bring new life and inspiration to the otherwise banal space of an underground parking garage. Taking the rhythms generated by actual slot machines in the nearby casino, the lights and sounds transform the parking garage into a symphony of light and sounds. Rhythms generated by a casino slot machine 1999 Germany 89 Tilman Kuntzel 1959 1542 images/spacer.jpg ROSEBOARD Lightobjects generates rhythms throughout a bimetal mechanism. Lightintervals hearable throughout sound stics. Three roses 2002 Germany 89 Tilman Kuntzel 1959 1545 images/works/Kuntzel-2001-smashed.jpg SMASHED VASE Aleatoric Lightintervalls activate sound samples via bi-Metal mechanism, sound modulation via Velocity - 2001 Germany 89 Tilman Kuntzel 1959 1549 images/works/Kuntsel-1988-interactive.gif Objects from the cyclus LIGHTS and SOUNDS - THE INTERACTIVE TORCH THE EYE SEEKS, THE EAR FINDS Instead of illuminating visible things in the room, with this torch the acoustic sphere can be captured and directly played back. The sound information is digitalized and stored on a chip. It is at any time retrievable by renewed pushing of a small black button - and by pressing the small red button the information can be replaced by a new seventeen seconds sound ‘incident’. Operation: One has to take the torch into a hand and press down the small red button. Now, accompanied by the flashing of a light-emitting diode, sounds can be recorded for seventeen seconds. After the diode has gone out, one presses the black button and can listen to the recording. This action can be repeated as often as one likes. Mobil Palm Sampler 1988 Germany 89 Tilman Kuntzel 1959 1552 images/works/Kuntzel-1999-lights.jpg LIGHTS OBJECT KNOCKING A light object is placed inside a crate which contains three separated power circuits. They switch themselves on and off via integrated heat-sensitive bulbs. The intervals of lighting are transmitted to magnetic switchers, and through mechanical transmissions they knock against the inside of the box (aleatoric rhythm) - 1999 Germany 89 Tilman Kuntzel 1959 1560 images/works/Kuntsel-1993-salat.gif PHONETIC SALAT 60 cards (4.5cm x 6.5cm) with 60 words in phonetic transciption printed on them are standing on a table; 30 Polish and 30 German. A blinking light-emitting diode is put in each card. The table’s surface is made of glass - with a hole in the middle to lead the live wires to the level below. The table-legs de facto are rusty iron tubes with a diameter of 5cm. They stand on loudspeakers that have the same diameter and sound into the tubes. The glass top lies on the upper end of the tubes, only seperated by small rubber pieces. One can hear the sound of the loudspeakers - manipulated by the resonance of the tubes - through the gap. The coloured diodes regularly blink, but are not synchronized among one another. So the general impression is a chaotic but regular muddle. The sound corresponds with this. Words in Polish and German language sound from each table-leg. The meeting of the words is accidental, because each loudspeaker is supplied by its own sound source. When listening carefully, certain rows of words can make sense, others don’t. Iron, glass, cards with phonetic transcription printed on, light-emitting diodes, loudspeakers, walkmen, endless cassettes, spoken collage 1993 (musique acousmatic). 1993 Germany 89 Tilman Kuntzel 1959 1565 images/works/Kuntzel-2000-dripping.jpg DRIPPING MUSIC DRIPPING MUSIC is a interpretation of the composition by George Brecht DRIP-MUSIC: Arrange a sorce of dripping water and an empty bowl in the way, that the water dripps in the bowl. - 2002 Germany 89 Tilman Kuntzel 1959 1572 images/works/Kuntzel-1991-pingpong.gif THE SONIC PING PONG FONTAIN The box contains a speaker. On it is fixed an iron bowl with a hole were the speaker is. Ping Pong Balls are laying in the hole and in the speaker. From time to time a strong knocking sound generated by a sound generator is heard. The sound is so sharp, that the membrane of the speaker makes the balls jump up about 35 cm high. - 1991 Germany 89 Tilman Kuntzel 1959 1573 images/works/Kuntzler-1992-mission.gif SENSE OF MISSION In the base there is a walkman with an endless cassette - in the ‘parabolic receiving dish’ of the aerial there is a loudspeaker - inside the small house a small light flickers. One can hear a sound collage that simulates a family milieu in the ‘good room’. Like a ‘musical clavilux’ the ultramarine light flickers inside the corpus - following the dynamism of the sound collage -and simulates the flickering of a television inside a living room, like one can see it in housing estates when passing. The aerial is functionalized in an opposite way here. It is not a receiver, but a transmitter to gain insight into the ‘inner life’ of the house. - 1992 Germany 89 Tilman Kuntzel 1959 1574 images/works/Kuntzler-1988-earth.jpg EARTH SOUND The visualisation of „undertones”A fragment of Dixieland Jazz was transposed lower by five octaves. Through multiple amplifying this fragment causes the membranes of the loudspeakers to vibrate visibly. Thus, sounds that are impossible to be perceived by our sense of hearing can be seen. - 1988 Germany 89 Tilman Kuntzel 1959 1575 images/works/Kuntzel-1990-man.gif MAN AT THE LAKE This object is to be understood as a design to be realised in the Hamburg public area. To this: The sound sculpture is made of a wooden body and with sinless steel wire. The body is 300-cm high, 100-cm wide, and 50 cm deep and represents the silhouette of a person. It’s standing on a spiral, which in it is anchored in a concrete footing. The wire (about 35 of them) is screwed into a horizontally glued bridge in the upper past of the body. They tower two meters above the body, going through a big hole, 25cm radius. Two lacquered figures are fastened on to the upper ends. They are snapped like small fish-simile to salty Fischli snacks. The body resting on the spirals get into slow motion through wind gusts, through which the wires (Fishlis) knock into each other and give out a mixed-up sound. This sound is then transmitted onto the bridge through the tension of the straight-up, balancing wires, which is then again transmitted onto the top and the bottom (side) of the body (resonance body). The noise holes take care of the well being and sounding of the noises, whose volume is measured according to the rules of the string instruments. They are fixed onto both sides in the form of a walking stick. The noise happening, which varies on the wind gusts awakens the imagination of a chattering fish school. The body-in the form of a dreaming man-with coat and stick reminds us of a seemingly dreaming man looking at the lake lost in throughout. (Or also, who began to dream at the apparent noticing of a small fish school. For this dreaming moment, weather fish, birds, water, clouds, fire, one has placed a monument. 23.2.1990 - 1990 Germany 89 Tilman Kuntzel 1959 1576 images/works/Kuntzel-1995-nogains.gif NO GAINS, NO PAINS Time Value Machine. As one pushes the card through the slit - a few seconds of a sound art piece is heard. - 1995 Germany 110 Benoit Maubrey 1952 1589 images/works/Maubrey-1982-jacket.jpg AUDIO JACKETS second hand clothing onto which loudspeakers have been sewn. These first prototypes are equipped with portable cassette players and 10-watt amplifiers. They play prerecorded cassettes. - 1982 Germany 110 Benoit Maubrey 1952 1590 images/works/Maubrey-1985-herd.jpg AUDIO HERD a custom-built series of 7 two-piece suits made of synthetic animal skin material. Inside the clothes the performers wear loudspeaker corsets. On the back of the jackets is a visible 30-watt amplifier. The Audio Herd functions like a real animal herd, it wanders through the landscape of the Bundes Garden Show in Berlin. The sound artists Hans Peter Kuhn made a series of animal-noise cassettes that the performers play as they wander around. - 1985 Germany 110 Benoit Maubrey 1952 1592 images/works/Maubrey-1987-monkeys.jpg GUITAR MONKEYS a group of noise musicians that wear black leather jackets equipped with 30-watt amplifiers and loudspeakers. This band plays guitars that are found at the flea markets in Berlin. These guitars are amplified via Piezo microphones that are then plugged into their electronic clothes. - 1987 Germany 110 Benoit Maubrey 1952 1593 images/works/maubrey-1988-subway.jpg AUDIO SUBWAY CONTROLLERS authentic subway controller uniforms into which amplifiers and loudspeakers were installed. They played back the original voice sounds from the Berlin subway attendants (All aboard, Please!, etc..) while unofficially patrolling the subways. - 1988 Germany 110 Benoit Maubrey 1952 1597 images/works/Maubrey-1994-drama.jpg AUDIO DRAMA In this situation different Audio Characters were created and interacted with each other in a 45-minute black-box theatre situation. Among other memorable electronic characters: FEEDBACK FRED -- a tragic-heroic personality equipped with an oversized loudspeaker box on his back, audio face mask, and microphone who is continually battling the effects of his portable feedback. - 1994 Germany 110 Benoit Maubrey 1952 1598 images/spacer.jpg ELECTRONIC GUYS based on the new electronic capabilities of the Audio Ballerinas These gentlemen wear evening jackets with tails and are equipped --depending on the situation with portable samplers, electric guitars, microphones, receivers, and light sensors. They complement the Audio Ballerinas in their indoor theatre pieces. - 1996 Germany 110 Benoit Maubrey 1952 1603 images/works/Maubrey-2002-fidelity.jpg HIGH FIDELITY Dancers sample Elvis Presley songs and pitch with light sensors. - 2002 Germany 110 Benoit Maubrey 1952 1606 images/works/Maubrey-2003-audiopeacock.jpg AUDIO PEACOCKS These wearable electronic instruments are constructed from polycarbonat plexigalss material shaped into a peacocks fan-like plumage. The plexiglass surface is equipped with 16 loudspeakers (150 watts power), amplifiers, and rechargeable 12 volt batteries. The audio-plumage is highly directional and functions like an electroacoustic radar dish -- esthetically it has much in common with the way a peacock parades itself in front of the pea-hen (the audience). An Audio Peacock can either amplify its own electronic instrument and voice or receive sounds from outside sources via transmitter/receiver and disseminate them in a space by orienting his high-tech plumage. Four Audio Peacock units can be acoustically choreographed as a mobile quadrophonic loudspeaker system. - 2003 Germany 110 Benoit Maubrey 1952 1608 images/works/Maubrey-1997-audioigloo.jpg AUDIO IGLOO an igloo-like structure made up of 400 recycled loudspeakers, tuners, record players, and receivers. Spectators can walk into the sculpture. The speakers amplify the sound of electro-magnetic waves (also known as white noise). - 1997 Germany 110 Benoit Maubrey 1952 1609 images/works/Maubrey-1982-Speakers.jpg SPEAKERS MAILBOXES recycled materials, sounds, and electronics 1985 Germany 110 Benoit Maubrey 1952 1610 images/spacer.jpg SPEAKERS CONTAINER recycled materials, sounds, and electronics 1987 Germany 110 Benoit Maubrey 1952 1611 images/spacer.jpg SPEAKERS WALL recycled materials, sounds, and electronics 1987 Germany 110 Benoit Maubrey 1952 1613 images/spacer.jpg TEMPLE OF WASTE recycled materials, sounds, and electronics 1998 Germany 106 Justin Bennett 1964 1621 images/works/Bennet-2000-site.jpg SITE I spend a lot of time listening to places and recording them. A place, whether experienced or remembered, is defined by its ambience, or sense of place. This can be a physical or an emotional response to the space itself, the objects and activities contained within it, or to its acoustic manifestation; its soundscape. Listening to a place gives us spatial and temporal information not necessarily determined by our point-of-view. Architectural or natural acoustics and ambient sound contribute to the soundscape as much as the sonic details and intentional sounds. Listening to a recording of a place thickens the plot. It stimulates immersion in the soundscape by removing visual cues, but creates distance through its transposition of space and time. One of the implicit meanings created by listening to a recording is that of not having been there. Somebody was there, however, and this primary listener made selections, choices and alterations to the recording for cultural, ideological, or aesthetic reasons. A recording of environmental sound is an inscription tracing the engagement of this primary listener with the soundscape at that time, in that place. We, the secondary listeners, form a second, mental place, here and now, from the acoustic traces written onto tape. Making a spatial soundwork is, for me, creating a place. In the series of soundworks called site, I use acoustic details from location recordings; fragments of sound that refer to objects, movement and materiality. For instance, we hear the actions of feet stepping on twigs, wind in leaves, or falling stones. These small sounds are isolated, taken out of their original context and arranged in a new, conceptual space. A gesture, which could be like a swirling gust of wind or the movement of a hand that draws, moves through this structure, sounding the invisible objects within it. By placing a number of loudspeakers in the exhibition space, this conceptual place can manifest itself within real space and real time. The structure is gradually revealed by a series of gestures, just as a drawing is gradually built up of lines. Here though, these lines are drawn in time, in memory. In listening to these works we construct our own mental place/site by listening to the recorded materials and the gestures in relation to the real architecture and acoustics. There can be great differences between the exhibition space and the recording location. The work though, exists somewhere else, in the gap between here and there, and between then and now. (text from the catalogue cd from the exhibition Just About Now at TENT, Rotterdam July 2000) - 2000 Germany 96 Trevor Wishart 1946 1652 images/spacer.jpg Globalalia this 29 minute piece uses syllables taken from 26 different languages, to create a series of elaborate variations on the sounds of language itself. Now available on the DVD, 50 Years Studio TU Berlin, from Electronic Music Foundation. Commission 2004 Germany 243 Yufen Qin 1954 4345 images/spacer.jpg Yin Song (Reading) The installations and environments of Qin Yufen develop their poetic power and originating sensuality from the combination of their Asian roots with a use of forms which are characterized by the western art and the experience the artist gained both in her Chinese homeland and in the west. Photo © Räse Encouraged by the ruin of the Charité lecture hall with its eloquent room structure and crumbling charme, Qin Yufen designed the sound installation "Yin Song (Reading)" taking up individuality and the special characteristic of this location. Twelve white silk bodies – each of them has a height of nine metres – establish a connection between floor and ceiling of the room, between earth and sky, from this world to another world; like reflectors, each of these bodies reflects history and stories of this ruin. Photo © Räse Qin Yufen incorporates the sound carpet of a poem originating from the Tang dynasty into the existence and inner life of this location. This poem narrates the origin of things and the nature of freedom, failures and the principle of hope accompanying the searcher on his ways. The "reading" of the poem that is more than one thousand years old fuses – trough processing at the computer and alienation – with the room like the snow fuses with the wanderer on the "Tai Hang" of which the lyric poet Li Bai narrates; the "Iron Mountain" that seems to be unsurmountable penetrates the walls of the ruin, and through its windows there shines the image of the "Huang He", the "Yellow River", on which we are carried by sails of clouds to the sea, to hope and inner freedom. Accessed 04.08.2009 from 1998 Germany 141 Cathy Lane 1955 1769 images/spacer.jpg White - 2003 Germany 30 Carsten Nicolai 1965 1797 images/works/Nicolai-sakamoto-200x-insen.gif Insen Alva Noto is the operating alias of Carsten Nicolai, who, together with Frank Bretschneider and Olaf Bender, form the musical triumvirate that is Raster Noton Archiv Für Ton Und Nichtton. The label releases a spectrum of electronica that ranges from abstract to ultra-minimal. The roots of much of its output, together with its frequently attractive packaging, might be traced as much to fine art movements like Minimalism and Suprematism as the musical futurism of Detroit techno or Kraftwerks negotiation of the man/machine interface. Insen is heir to Vrioon (2003), Alva Notos collaboration with Japanese multi-instrumentalist Ryuichi Sakamoto. Both represent something of a departure from the ascetic bent of their peers. Both explore the potential for interaction and tension between electronic and acoustic instrumentation, the latter taking form in Sakamotos piano. This relationship lies at the core of Insen and continues Vrioon s cool melancholia in subtler, even more streamlined fashion. If each part of the marriage were isolated into constituent parts, they might prove too clinical or precious, but together a delicate vibrancy is created. The air-borne reverberations of the acoustic piano combine, impact and dissolve with digital loops, prods and waverings. On Aurora notes are sustained and released as if Sakamoto were bidding a final, unwilling farewell to each one. On Morning he prods rising arpeggios gently as if afraid they might shatter. At the same time, echoing electronic streams and trembling resonances complement the pianist s performance. Such is the sympathy of these elements that, moment by moment, the sense of a remarkably unified form is created. This is the initial impression at least. However, the association proves to be a mutable one. At times,­ as on Logic Moon - the piano becomes so enswathed in its own gossamer-thin feedback that it seems to disappear like a receding, fog-bound figure. Later, the piano s surging conviction is undercut by subtle percussive glitches which suggest a delicate but troubling dysfunction which prompts examination of the cd player to ensure the counter is passing in regular time. The resulting creative interplay makes for beautiful, rewarding music which only gradually reveals its subtleties. Reviewer: Colin Buttimer. Accessed 7.11.06 from chk release date 2006 Germany 9 Max Eastley 1946 1806 images/spacer.jpg Exhibition (details unknown) - 1994 Germany 9 Max Eastley 1946 1814 images/spacer.jpg Untitled live show with David Toop - 2003 Germany 9 Max Eastley 1946 1816 images/spacer.jpg Untitled live show - 2000 Germany 9 Max Eastley 1946 1818 images/spacer.jpg Untitled live show with Thomas Koner - 1999 Germany 9 Max Eastley 1946 1819 images/spacer.jpg Untitled live show - 1999 Germany 9 Max Eastley 1946 1826 images/spacer.jpg Untitled live show - 1996 Germany 9 Max Eastley 1946 1830 images/spacer.jpg Untitled live show - 1994 Germany 93 David Lee Myers 1949 2030 images/works/Myers-2001-flussdichte.jpg Flussdichte The third collaborative effort with German composer Asmus Titchens. As in the past, Myers supplied Feedback sounds to Tietchens, who processed them and constructed the final pieces, which in this case are brooding and mysterious. - 2001 Germany 95 Bruce Nauman 1941 2089 images/works/Nauman-1992-anthro.jpg Anthro-Socio On three projection surfaces and six monitors, one sees the head of a man shown in different takes. While continually revolving about his own axis, in a variety of tonalities he sings FEED ME/ EAT ME/ ANTHROPOLOGY, HELP ME/ HURT ME/ SOCIOLOGY, and FEED ME, HELP ME, EAT ME, HURT ME . In order to grasp the full effect of the installation Anthro/Socio, the space has to be entered. The calls heard from different directions irritate as much as the contradictory demands, aimed at the simplest of bodily needs and questioning them at the same time. The repetition of the alarming singsong, and multiple video shots of the singer, also create a disturbing moment. In Anthro/ Socio, not only because of the all-encompassing sensual experience does the viewer become part of the artwork; the installation also encourages viewers to give thought to the inherent qualities of subjects and objects, and to human beings in society. Accessed 20.11.06 from - 1992 Germany 134 Ed Osborn 1930 2170 images/works/Osbourne-2004-sidewinder.jpg Sidewinder In Sidewinder, seven plastic panels are hung across the space of the RBB-Klanggalerie from the level of the first floor. Looking like a set of floating flags, the panels twist, move, and flex in a series of changing patterns to produce a composition in sound and motion that evokes an airborne living presence. A sidewinder is a type of poisonous snake known for its coiling motion; it propels itself quickly across sandy terrain and leaves a distinctive sideways track as it moves. Here that motion is mimicked in the air, but the only tracks it leaves are made from quickly-dispersing sound waves. The entrance hall of Radio Brandenberg Berlin is a dominating one that resists most interventions into it. With its strong yellow coloring and rectangular forms, the room provides a tightly formed geography that seems complete as it is. In addition, the way that sound diffuses through the space quickly blurs many of its acoustic details and limits the kinds of sounds that can exist effectively within it. By designing Sidewinder to be as much visual as it is aural and working with the limited range of sounds produced by the PVC sheets, the attributes of the space can be utilized effectively. Accessed 7.12.06 from PVC panels, steel, rope, custom electronics, sound (dimensions variable). 2004 Germany 134 Ed Osborn 1930 2176 images/works/Osbourne-2001-air.jpg Air Driver Air Driver is an installation made from a series of brass loudspeakers constructed specially to be used by tuba player Robin Hayward. These loudspeakers are designed to be, like the tuba, simultaneously awkward and elegant. The piece can be set up for live performance or ongoing exhibition; during the latter recordings made from Haywards unique extended-technique playing are broadcast through the loudspeakers. The title refers both to the human player that forces air through the hollow shaft of a brass instrument and to the brass speakers that vibrate the air in order to generate sound.Accessed 7.12.06 from Brass, custom electronics (dimensions variable) 2001 Germany 134 Ed Osborn 1930 2177 images/works/Osbourne-2001-lfo.jpg LFO #2 LFO #2 uses special motion sensors to turn the movement of tiny fans into a low rumbling sound that is heard through custom drivers that turn the windows of the gallery into speakers. The piece performs a double inversion that allows sound to be produced from silent motion and then heard from an object designed for sight rather than sound.Accessed 7.12.06 from Fans, custom electronics, amplifier, speaker driver (dimensions variable). 2001 Germany 134 Ed Osborn 1930 2178 images/works/Osbourne-2001-measure.jpg Measure for Measure As a way to make an audible measurement of the body in relation to architectural spaces I have made numerous recordings of myself walking up stairways. By using binaural microphones to give a realistic audio representation of the body space of the stairway, these recordings serve as first-person document of physical experience and a calibration of that experience to the space where it occurred. In Measure for Measure these recordings are used as the source audio material to construct a composition for the stairway space of the Parochialekirche. The source recordings come from a variety of sources from Berlin and elsewhere; some of the recordings are left unadorned, others are processed and reworked.Accessed 7.12.06 from Compact disk, amplifier, speakers (dimensions variable). 2001 Germany 134 Ed Osborn 1930 2179 images/spacer.jpg Nordmaschine In a dimly-lit room a set of small lights fade in and shut off repeatedly at varying intervals. Concurrent with this a set of speakers with fans attached to them broadcast long and slowly changing tones. The movement of the fans causes the sounds to modulate and a perpetually shifting resonant terrain fluctuates around the listener. By gently shaping an enclosed area with sound and light, Nordmaschine functions as a physical meditation on the passage of changing energy fields though a space.Accessed 7.12.06 from Lights, speakers, fans, custom electronics, sound (dimensions variable) 2001 Germany 134 Ed Osborn 1930 2203 images/works/Osbourne-2004-transit.jpg Transit Based on routine activity at a boat lift (schiffshebwerk) in East Germany near the Polish border, Transit examines the perceptual attributes of this very large structure. In it, a pair of video shots show boats moving into the lift, securing to the edges, and then slowly lifting or dropping from view. While the actions shown revolve mostly about waiting, the ordinary and placid tone of activity belies an impressive engineering feat: every transfer moves water and boats weighing hundreds of tons up or down a height of 43 meters. Its slow life is something like an ordinary miracle that reoccurs several dozen times a day.Accessed 7.12.06 from 7.12.06 from - 2004 Germany 134 Ed Osborn 1930 2207 images/works/Osbourne-2002-double.jpg Double Back In this two-channel video installation a pair of shots looking back off the rear of a bicycle slowly move through a long pedestrian overpass in East Berlin. The overpass crosses the space of a former cattle grounds and abbatoir and leads to a modernist highrise complex. Taking nearly ten minutes to complete each crossing, the images shift slowly between these twin architectural artifacts of the DDR — two parts of a physical history that is gradually being erased (the cattle grounds under the overpass had already been razed at the time the video was shot, the overpass itself was torn down a few months afterwards). The title, Double Back, refers at once to the two rearward shots, to the process of perpetually retracing the routes that the shots take, and, more obliquely, to the parallel histories of East and West that continue to inform the culture of Berlin and shape its public space.Accessed 7.12.06 from two-channel video installation 2002 Germany 134 Ed Osborn 1930 2208 images/works/Osbourne-2002-layover.jpg Layover Layover consists of a single, hour-long shot of a commercial airliner at port awaiting attention. Around it activity comes and goes, the sky changes, and still the plane stands unattended. In this motionless event concepts of duration, patience, memory, and simple boredom emerge and recede while hovering nearby is the recurrent (and always unfulfilled) expectation that there might be an interruption in the state of non-activity. Filmed two months after September 11 in probable violation of numerous airport security directives, Layover obliquely considers issues of safety and monotony, the capability of technological systems to provide both on a predictable basis, and the ability of images and technologies to alter the perceptions of one another.Accessed 7.12.06 from - 2002 Germany 138 Ultra-Red 1994 2227 images/works/Ultrared-2001-kanak.jpg Play Kanak Attak In 2001, Ultra-red joined forces with Kanak Attak ( for an extended collaboration. Founded in 1997, Kanak Attak are a German-based anti-racist network producing cultural and poltical actions supporting the autonomous networking and organizing of migrants. With chapters through-out Germany, Kanak Attak collaborate with other migrant groups such as Brandenburger Fl?tlichlingsinitiative in Berlin and Doña Carmen in Frankfurt. ULTRA-RED PLAY KANAK ATTAK compiles tracks from joint performances at Club Transmediale in Berlin and Frankfurts Pol Festival. Additionally, the album contains material from the “Neue Wirtschaft” radio series produced by Ultra-red for Frankfurt’s public radio, hr2. The album also features site recordings from numerous locations around Frankfurt. These sites resonate with significance for migrant histories and struggles. The track ROTLICHT takes the listener on a tour of Frankfurt’s red light district heard through the ears of activists. Working with Latin American migrants in Frankfurt’s sex industry, Doña Carmen provide health and legal advocacy for women, men and transgender sex workers. The recognition of migrant sex workers as workers takes a central place in Doña Carmen’s call for the legalization of migrants. ULTRA-RED PLAY KANAK ATTAK is a joint-release of Ultra-reds fair-use label Public Record and Zagreb-based EGOBOO.bits ( The recent expansion of the European Union has increased pressure on perimeter countries to standardize their migration policies. This is especially crucial in former Yugoslavian countries where E.U. policy-makers, the U.N. High Commission on Refugees, and national governments are drafting new migrant laws that expand border regimes for the European Union. Do the people of those countries wish to have their governments employed in policing migration on behalf of the E.U? The freedom of movement must be recognized as a fact of everyday life. Such freedom must be recognized for all people, from sex workers, to farm workers, families and lovers seeking reunion, Roma people, political refugees, and not just the sole right of privileged workers of the neoliberal order, like NGO workers, technical elites and cosmopolitan electronic musicians. - 2001 Germany 80 Karlheinz Essl 1960 2325 images/works/Essl-2006-berliner.jpg Berliner Luft for a room installation by Johanes Zechner. Für die Präsentation des Berlinkoffers in Johanes Zechners Ausstellung TRAUMA UND TRAUM hat Karlheinz Essl ein generatives Soundenvironment geschaffen, das die spezifische Atmosphäre dieser Stadt in subtilen Anklängen heraufbeschwört. Dazu wurden vom Komponisten zwischen 2005 und 2006 charakteristische und ortstypische Stadtklänge in Berlin aufgenommen: das Schienenkreischen der S-Bahn beim Ostkreuz, die Lautsprecherdurchsagen am Bahnhof Friedrichstraße, das Quietschen der Rolltreppen in der U-Bahnstation " ", sonntägliches Glockenläuten am Prenzlauer Berg, das lose Mundwerk einer Berliner Wurstverkäuferin usw. Dieses Klangmaterial wird nun von einem eigens entwickeltes Computerprogramm in Echtzeit dekonstruiert und anschließend mittels generativer Kompositionsalgorithmen zu neuartigen und überraschenden Klangstrukturen zusammengesetzt, deren Herkunft oftmals nicht mehr erkennbar ist, aber in Anklängen gespürt werden kann. Der aus diesem Prozess resultierende Klangstrom durchläuft zuletzt ein Bandpass-Filter, dessen Eckfrequenzen sich zufallsgesteuert über den gesamten Hörbereich verschieben, wodurch immer nur Teilspektren des Klanges hörbar werden. Die Klänge verlieren dadurch ihre Bodenhaftung und werden zu Luftwesen, die Johanes Zechners Bilderinstallation durchwehen. Die Wiedergabe der Klänge erfolgt über Lautsprecher, die in der aus 20 Holzkisten bestehenden Installation eingebaut sind. Diese Kisten, die mit bemalten Leinwänden belegt sind, bilden eine Art Labyrinth, das den Betrachter zum Erkunden des Klang- und Bildraumes einlädt. - 2006 Germany 80 Karlheinz Essl 1960 2331 images/spacer.jpg blurB blurB was created for the 60x60 Project where composers have been asked to submit a piece of maximum 60 seconds length. 60 of those pieces will be performed during a continuous one hour long concert in New York. blurB emerged on 27 May 2004, a few hours before the chamber music piece blur (for alto flute, vibraphone and cello) was officially premiered at the Schönberg-Center in Vienna, Austria. By using techniques of granular synthesis, a 15 minute recording of this piece played by the Ensemble Recherche was compressed to fit exactly into 60 seconds of time. This condensed structure was filtered digitally with the beginning of the trio where the three instruments commence from the same tone: the note D which functions as an Ariadnes thread for the entire piece. blurB can be perceived as the essence of blur: as if the original chamber music composition was played 15 times faster through the key of a vibraphone. Accessed 10.12.06 from - 2004 Germany 80 Karlheinz Essl 1960 2343 images/spacer.jpg Lexikon-Sonate online The original computer program is written in Max and runs on Apple Macintosh computers. In order to enjoy the fruits of Lexikon-Sonate also online, I created two different versions for the Internet:Accessed 10.12.06 from - 1997 Germany 80 Karlheinz Essl 1960 2344 images/spacer.jpg Lexikon-Sonate Accessed 10.12.06 from 1992 Germany 123 Karlheinz Stockhausen 1928 2370 images/works/Stockhausen-1954-study2.jpg Electronic Study II In further developing Arnold Schönberg’s twelve-tone technique, promoted by his students Alban Berg and Anton von Webern, not only should pitch and pitch duration be aligned, but now too, the mathematically-deducible details of tone coloring for the structure of the piece. Karlheinz Stockhausen. Accessed 11.12.06 from - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1954 Germany 123 Karlheinz Stockhausen 1928 2373 images/works/Stockhausen-1964-Micro1.jpg MICROPHONY I 28 min - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1963 Germany 123 Karlheinz Stockhausen 1928 2374 images/spacer.jpg MICROPHONY II 15 min - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1965 Germany 123 Karlheinz Stockhausen 1928 2376 images/works/Stockhausen-1974-Sirius.jpg SIRIUS It begins with a slowly emerging hum - like a disturbance in the wiring of your sound equipment -; then evolves into a murmur of great timbral depths, finally releasing itself into a spinning, swooshing, disturbing sound of higher frequencies in the foreground, panning between the speakers in an ominous descent, cutting through your skull, slowing down rapidly and coming to a halt, while the deep humming sound continues, until a second spinning occurrence appears, and a third, and a fourth, after which the murmur ceases and the last spinning sound slows down in slow-motion revolutions and stops. That is the beginning of Stockhausen’s “Sirius”, utilizing a special rotation loudspeaker and electronic tape to visualize the descent and landing of spaceships from Sirius. A bass voice then commences in deep registers, calling out: “I am North! – and thus begins the presentation of the four soloists and their characters. In this part some concrete tape sounds appear, like the chopping of ice and crunching steps in cold snow (the Bass representing North, Earth, the Man, Night, Seed, Winter) and fire crackling (the Trumpeter representing Fire, Youth, Morning, Bud, Spring), streaming water in a brook (the Soprano representing Water, the Woman, Midday, Blossom, Summer), a forceful wind (the Bass Clarinet representing West, Air, Friend, Beloved, Evening, Fruit, Autumn). The work is subdivided into three main parts; 1. Presentation of the soloists. 2. The Wheel of the Year. 3. The Annunciation. Stockhausen’s composition “Sirius” can be characterized – on one level – as a visual and musical representation of the year, of the annual cycle, (but it is of course much more than that!) and the characters or occurrences we might ascribe its different parts. Michael Kurtz writes in his “Stockhausen – A Biography”: “The four soloists represent the four seasons, times of day and points of the compass, the four elements, the four stages in the growth of plants (seed, bud, blossom and fruit), as well as man, youth, woman and beloved.” Kurtz goes on to say that “Sirius” can be considered Stockhausen’s attempt at “a modern mystery play clothed as a science fiction story”. The musical basis for “Sirius” rests with the 12 formula-melodies from “Tierkreis”, whereas the tape part’s melodies originate in the four seasons, represented exclusively by the four “Tierkreis”-melodies “Aries”, “Cancer”, “Libra” and “Capricorn”. Depending on when the performance takes place, it starts with the appropriate section after the “Presentation”; i.e. “Capricorn” in the winter, “Aries” in the spring, “Cancer” in the summer and “Libra” in fall. The Summer version is recorded on these CDs, so it starts with “Cancer” and continues with “Libra” “Capricorn” and “Aries”. The tape part – excellently realized in exciting displays - differs, too, depending on which version is performed. The tape part was realized by Stockhausen at the WDR studio in Cologne during a two-year period of great strain. Such was his workload at the outset, that he at one time fainted, and had to spend a week in hospital, where he fasted. During that fast he absorbed a vision about how the work should evolve, and took it from there. (We might also recall that Stockhausen fasted in connection with conceiving “Aus den sieben Tagen”, even ordaining a four day fast in the performance instruction for one of the pieces of the work; “Goldstaub”) Stockhausen says about the electronic part: “By listening to this music, in particular to the Wheel, one perceives how the newly discovered means and structural possibilities of electronic music can awaken in us a completely new consciousness for revelations, transformations and fusions of forms, which would never have been possible with the old musical means, and become increasingly similar to art of metamorphosis in nature.” The tape part melodies are evolved in numerous ways by way of a voltage-controlled synthesizer, enabling Stockhausen to transform the melodies, combine them with one another, sometimes fusing many melodies together in a simultaneous display of Zodiac excellence. For the especially interested it might be of value to read this quote from the preface of the printed score, giving some idea of the complexity of the realization process of the electronic part – actually sending thrills of pleasure through my nervous system by its sheer ingenuity of applied imagination: “The synthesizer which was used (EMS Synthi 100) is equipped with a 3-track sequencer. If the name ‘Aries’ or ‘Cancer’ or ‘Libra’ or ‘Capricorn’ stands in the upper system of the score (where the electronic music is notated), this indicates that these formulas from my composition ‘Tierkreis’ were stored as voltage sequences in the sequencer (maximum of 3 simultaneously). Each of the 3 sequencer tracks has two channels: one channel for the pitches and one for the rhythm. Thus a total of 6 voltage sequences are stored. The speed at which these formulas were played could be changed by the triggering from the sequencer clock over a very large range, discontinuously (with a 5-octave keyboard) and/or continuously (with joysticks, small control levers). Groups of generators and groups of filters as well as the clock were driven with variable volume by these formulas (voltage sequences) via faders. It was thus possible to continuously add 2 or 3 of these voltage sequences or blend them into one another, using the faders (fading the melodies and rhythms in and out). Hence, by means of faders, the time intervals (rhythms) – defined by the stored voltages – could also be added, expanded, and compressed to the point of complete periodicity (time compression is not meant here!). If then, in the case of maximal compression (complete periodicity) the trigger-pulses of the clock were turned off, transition from rhythmicized music to a constant pitch resulted (for example in the ‘Aries’ section). When in the electronic music one of the 4 Zodiac formulas can be heard in its original melodic and rhythmic form, this means that all parameters are being driven by the two voltage-sequences (channels) of only 1 of the 3 sequencer tracks. There was therefore no problem in combining the melodic shape of one formula with the rhythmic shape of another formula (for example in the ‘Aries’ section p. 1, the ‘Aries’ melody appears with the ‘Capricorn’ rhythm, on p. 2 the ‘Capricorn’ rhythm is continuously exchanged with the ‘Aries’ rhythm, then near the end of p. 2 the ‘Capricorn’ rhythm and ‘Cancer’ rhythm are gradually added to the ‘Aries’ rhythm). The same holds true for the addition of melodies – this is not a mixing (!) -, for progressive subtraction and compression of melodies, or for expansion of melodies, independently of rhythmic and timbral processes! The control of the timbres (filters) by the Zodiac formulas followed the same principle. Thus, it can be understood how, for instance in the ‘Aries’ section, the ‘Libra’ formula appears as a timbre melody of the constant fundamental pitch A (i.e. the melody is faded out completely) and that a second timbre melody (‘formant melody’) joins it in counterpoint above the constant fundamental pitch. In all fast groups notated as grace notes, the rhythm is exactly as differentiated as in the slower fragments, but is too fast to be heard as such. The notation, particularly of fast rhythms, is therefore only approximate. When melodic fragments become undecipherable because of discontinuos switching to high speed, or are heard as glissandi contours, they are represented approximately, graphically with lines. […] Where such graphic simplification was not possible, general indications such as ‘indistinguishably fast’, or, as in the ‘Cancer’ section, p.1, bar 1, ‘jump to the 26th note’ (of ‘Aries’ melody) was used. All melodic occurrences are obtained from the described principle of forming. Thus, the melodic shape of the formula can be recognized even in extremely slow tempi, when one precisely reads the score and listens through all the layers. For example, see the very slow ‘Aries’ melody, which is graphically represented using lines, beginning in bar 3 of the ‘Cancer’ section which extremely slowly accelerates and gradually transforms into the ‘Cancer’ melody, finally – still very slow – becoming notatable after more than 3 minutes in normal rhythmic values. Many verbal indications have been written as reminders. In the ‘Cancer’ section p. 9, uppermost of the 3 layers (= staves), for example, ‘Aries/Cancer-rhythms ‘ is written, meaning that the ‘Aries’ melody (with glissandi, as indicated already since p. 7) is driven by the combined rhythms of both ‘Aries’ and ‘Cancer’ (on p. 7 are also the words ‘Cancer rhythm added’), and that the transformation process indicated by the words ‘Cancer rhythm added’ is completed at this point. At the beginning of the lower system the word ‘Aries’ means the ‘Aries’ melody. The word ‘formants’ means: partials made predominant by means of resonance filtering. These are voltage controlled as a timbre melody. The indication in the ‘Cancer’ section, p. 15, ‘1 period now has a duration of 6 seconds’ means that the complete rhythm of ‘Aries/Cancer’ runs through every 6 seconds on the constant pitch G. The indication ‘but tempo no longer varied’ indicates that the 6-second duration of the period is regular from here on.” Naturally, complete enjoyment of the above text is only possible with the score at hand, but it gives an idea of the Stockhausenesque methods of working. “The Wheel” – the passage of the year – lasts in excess of an hour, which lets each of the four main melodies “Aries”, “Cancer”, “Libra” and “Capricorn” dominate for about a fourth of an hour each, and the exact durations on this recording are 24:29 for “Cancer”, 18:44 for “Libra” 13:40 for “Capricorn” and 14:41 for “Aries”. The 12 melodies divide the hour in a manner similar to a clock. “The Wheel” is a complex, continuously evolving, swelling and contracting sonic space, in a delicate flux of transformations and never-ceasing change, wherein the melodies, timbres, rhythms of “Cancer”, “Libra”, “Capricorn” and “Aries” transform into one another, independently or together. Stockhausen points out that one melody out of the four main ones always is approaching, another always departing. The 8 remaining melodies of the Zodiac emerge only by themselves, and are expressively not partaking in any transforming processes. All the texts of “Sirius” except the concluding “Annunciation” were written by Stockhausen. They include 12 short texts describing the characters of the human types according to the Zodiac. Stockhausen explains that all other words are “reciprocal appeals, explanations, corrections, gibes, defenses, compliments and encouragements of the soloists appropriate to these texts of the Zodiac”. Three languages are used in all versions of “Sirius”. In this version English is the dominant language, and German comes next. Italian is used in one verse of “Aries”. The main language may change according to where in the world a performance is conducted. “Sirius” should – says Stockhausen - preferably be performed in a planetarium or under a nocturnal sky (compare “Sternklang”). The work began as a commission from the West German government to celebrate the bicentenary of The United States of America, and Stockhausen dedicated it “To the Pioneers of Earth and Space”. Accessed 11.12.06 from - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1974 Germany 123 Karlheinz Stockhausen 1928 2377 images/spacer.jpg UNSICHTBARE CHÖRE This work is choir music for tape, and the tape is an integral part of the opera DONNERSTAG aus LICHT, where it is played at lower volume than the live music in acts I (Michaels Youth) and III, 1st scene (Festival). During live performances of the opera, the 8-channel tape (with a duration of about 49 min.) is played through loudspeakers surrounding the audience, thereby providing a spatial enrichment of the musical experience, which otherwise mostly focuses on the happenings on the stage. UNSICHTBARE CHÖRE is highly polyphonic. An essential aspect of the music, and one which has a main impact on its sonic signature, is that the diverse choral voices and lines simultaneously move at very dissimilar apparent speeds of musical motion (forming different time layers). In this work, Stockhausen takes this aspect to an extreme as I have encountered nowhere else in choral music. One part of the choir may sing lines of rigid character, while two other parts express themselves in vivid intertwining gestures, and a fourth one contributes to the texture with sustained notes, just to mention an example. Other a capella works by Stockhausen, for example WELT-PARLAMENT or ENGEL-PROZESSIONEN, also employ this feature of diverse time layers in the different choral strands extensively, but to my ears not to such extremes; similar is the case with Ligetis a capella works from the 1980s. One important reason for the extreme differences in time layers in UNSICHTBARE CHÖRE is the frequent embedding of singing of relatively sustained notes into the texture, against which other strands contrast, in addition to the differences between the strands with lively rhythms (although also in ENGEL-PROZESSIONEN sustained notes are sung, this occurs at low level as performed by a pianissimo tutti-choir, not as part of the main texture at high volume). Another Stockhausen work for voices only, STIMMUNG for 6 vocalists, also often sounds quite extreme in its complex polyphony of vocal lines moving at different apparent speed. However, in that work there is most of the time a basic contrast between two groups of voices, one moving rather slowly and the other one relatively fast, and the added complexity mostly appears to come from different rhythms or from rhythmic shifting between the voices in those two groups, rather than from huge differences in time layers above the basic contrast slow versus fast. In UNSICHTBARE CHÖRE on the other hand there is a continuous clashing of truly multiple time layers in the music. In general there are no big differences in volume between the choral lines. Mostly all the voice threads that are sounding contribute with comparable emphasis to the musical proceedings, without one being clearly in the background with respect to another one. That makes the friction of different choral voices, simultaneously proceeding at different apparent speeds of musical motion, central to the musical texture. This friction is put into constant and invariable presence since throughout the work the choir as a whole nearly always sings relatively loud to loud, with rather moderate variations in overall dynamics (except in the events between the sung texts, see below). Especially in the first half of the work, the different choral lines do not always move simultaneously as a continuous web of voices. Rather, it happens frequently that the individual vocal lines enter the total texture and recede from it in certain time intervals. This highlights the friction of the different time layers even more, since each new entrance of a voice strand calls attention to itself, and thus also to its specific speed of musical motion, which clashes with the other voice strands. This clashing is frequently enhanced by attack-like entrances of voices. UNSICHTBARE CHÖRE often sounds very massive, yet the precision of musical expression and attack always remains sharp. All this is explained by the recording technique. The composer (translated by me from Texte zur Musik, Band 8, p. 551 f.): I conducted the rehearsals and recordings with the choir of the WDR Cologne. For the entire work, which lasts about 50 minutes, I have copied on the 16th track of a 16-track-tape the beats of each bar with impulses. The choir was recorded on the remaining 15 tracks. With pitch differences and accents of the impulses I clarified on the click-track all bar divisions and tempi. During the recording I heard the click-track over headphones and conducted. For three weeks I rehearsed the WDR-choir in split sessions, and on that occasion the voice groups were recorded separately. Always all voices of one group sang. For example all tenors were recorded on one track, then all tenors with a second polyphonic layer on a second track, then all tenors on a third track; the same method was applied for all basses, all altos and all sopranos. At some moments I even have overlaid one voice group four times with itself. With this recording technique, with which everything always proceeded in perfect synchronicity, I thus realized in three weeks a rich polyphonic work. Afterwards I mixed in another studio for six weeks an 8-track version with eight loudspeakers, which stood in a circle around me in about 2 metres distance at ear level, as well as with a 16-track-playback tape machine and an 8-track recording tape machine. During that process, I copied voice groups on several tracks together, I balanced – always standing – the dynamics (which was the most time-consuming) and per formal section I changed the positions of the choral groups around me. Day after day I listened and mixed for 8 hours a new original for performances. The result is reproduced over 8 or 8 x 2 loudspeakers, located around the audience. […] A choir could never sing a work like UNSICHTBARE CHÖRE live. At some moments up to 180 voices are synchronized. When all are present, the WDR-choir has 48 members. Also, a live performance of combined choirs could hardly ever achieve such a polyphonic synchronicity, pitch accuracy and dynamic balance as the recording of UNSICHTBARE CHÖRE posesses them. The recording technique of our time thus creates an entirely new musical quality. Add to this mass of voices the fact that, as I mentioned above, the choir sings relatively loud to loud almost throughout, and you end up with a muscle and body of sound which is quite overwhelming. In UNSICHTBARE CHÖRE, the highly precise presentation of multiple time layers and polyphonic strands by an at times truly massive voice texture provides the listener with a uniquely powerful and unforgettable musical experience. The music sounds fairly dark and even ritualistic, even though the texts sung are mostly joyous. Several factors contribute to this character. The specific harmonies that are used cause a darkening of the overall colors of the different choral sections, and convey a distinctly non-Western character to the music. The bass voices have a dark fullness of sound which is frequently reminiscent of Russian choral music, but the overall effect of their combination with the other voice registers is of a far less specific color. Also, the harmonies employed give the music a somewhat more shouting character than in the typical Western cantabile expression of choral voices, although I hardly would call them abrasive and overtly dissonant in color, certainly not in the framework of typically modernistic expectations. Finally, the patterns of gestures also contribute to the ritualistic sound of the music. Those patterns are marked by a combination of several characteristics: the dense overlay of various gestures sung in different voice registers, the repetitive behaviour of the gestures, which in combination with their often forceful character many times makes them sound like powerful sequences of musical attack, and the constant shifting in collisions of the gestures against each other during the course of the musical proceedings. This constant shifting in addition avoids repetitions in the overall texture, and instead provides stunning complexity (for this, also listen to the very last passage for female choir alone). The vocal colors, filled with mighty saturation, and the textures are imposing. It is a true feast for the ears. Four texts are sung, the first, third and fourth texts in Hebrew, the second text in German. The texts are: I. Judgement Day (from the Ascent of Moses), II. The End of Time (from the Apocalypse of Baruch), III. The End of Time (different text from the Apocalypse of Baruch), IV. Hymn (from Leviticus) Most of the time, however, the texts are not intelligible (at least as I judge from the second, German text), since the texture of voices is too dense for that. It seems that the realization is more about the idea of the texts, with the vocal texture basically led by purely abstract musical considerations. ***** First Text. The basses present vocal lines of rigid motion, while alto voices sing rhythmically vivid gestures of jumping up and down the pitch scale in small, quick steps. Soprano voices sing more sustained notes, pausing in between, or alternate those gestures with shorter, regular pulses. After a while, tenors chime in, alternating between supplementing the gestures of either the soprano voices or the alto voices, but predominantly taking the side of the latter ones, with those rhythmically vivid gestures running up and down the pitch scale. Second text. This part starts with an extremely dense texture, erecting a true wall of sound, in which some sections of the choir sing sustained notes, whereas others sing in rhythmic oscillations of small pitch variations. The texture then opens up when the rhythmic oscillations become pulses, with or without pitch variations, still accompanied by slowly moving lines. After this, the wall of sound returns for the remainder of this part, first with gestures similar to those at the beginning, and then with all kinds of combinations of those gestures with the pulse-like singing. At some points, nearly all the choral sections sing relatively sustained notes. Third text. This part also starts with a wall of sound, with singing of relatively sustained notes. However, at first not prominently noticed, a section of the female choir sporadically breaks out of the texture with sudden upward interval leaps immediately returning to the pitch from where they started. When after some time the volume of the choir recedes somewhat, the leaps become more prominent in the texture, gaining in apparent force, and are repeated regularly to form a web of recurring gestures, but with low enough frequency as to allow for each of those outbreaks in interval leaps to be experienced as an individual, powerful event. After a while two clarinets appear in the music for a few minutes (related to the events in the opera), playing moto perpetuo figures in regular patterns, and somewhat after the entrance of the clarinets, the gestures of choral singing change. Now the voices of all registers sing relatively sustained notes; male voices form a continuous web of sound while there are small breaks and restarts in the female voice strands, giving somewhat of a wave-like effect. Soon, however, the choir returns to the gestural pattern from before. Later female voice strands gain more and more freedom and rhythmic vividness when first, at some points, they sing in regular pulses of sound, heard in different apparent tempi, and finally they create a dense web of small sonic explosions in irregular rhythm. Fourth text. An extremely dense and massive texture of intertwining vocal lines of the female choir and the tenor section in vivid motion, above slowly moving lines in the bass voices, starts this part. After some time, the vehemence of musical motion settles a bit, while the intertwining of voices remains very dense; the tenor voices are now heard as a more separate strand. Then a pause choir is heard (see below). After this, female voices sing in slowly moving, wave-like pulses of considerable kinetic thrust, whereas male voices sing forceful figures of separate rhythm. In the next passage, the wave-like figures in the female voices are converted from slow pulses to smooth oscillations; the male voices blend more into their singing. After a while, the rhythmic articulation of the male voices becomes more pronounced again and, resulting from this, their penetration of the overall texture. In the following passage, the apparent speeds of motion of the different voice strands created by the female choir become more disparate, and the overall texture becomes lighter. This lightening of the texture finds an endpoint when finally the female choir sings alone. In this last, long passage the articulation switches from producing layers of sound to creating a flickering web of oscillations of sound, woven from a very dense texture of rhythmically vivid and leaping vocal lines. ***** The singing of the four different texts is separated by pause choirs, where mostly male voices alone sing sustained notes, with very slow changes in their phonetic expression. Those pause choirs are also heard as a short passage interrupting the singing of the fourth text. In the middle of the second text there is a pause choir specified as well, but I hear this section as a continuum of the main musical proceedings. In addition, other sonic events are realized by the choir in between the sung texts. After the first pause choir, the choir members introduce a new unheard-of texture: Different members of the choir all help to form a web made of tongue-clicks, making it sound like trickling water, and at some points the web becomes so dense that it creates the effect of sounding like a small waterfall. This has to be heard to be believed. After singing of the second text and pause choir, the choir members make a kind of hissing melody from sounds created by forcefully blowing through their teeth, with some further tongue clicking in the middle of it. Finally, after the singing of the third text, accompanied by sounds of other voices, the basses sing a short text in German and then very slowly count from one to thirteen; this passage forms one of the many moments of symbolic counting in the opera, and is heard there during the playing of the choral tape in conjunction with a duet between soprano and tenor. After that, the clarinets playing moto perpetuo figures in regular patterns (see above) appear again as pause choir, and a repetition of the hissing passage leads to the singing of the fourth text. ***** UNSICHTBARE CHÖRE is available at (CD 31). The CD is strongly recommended to those who especially love choir music (you will not believe what you hear), to those who have or want to acquire DONNERSTAG aus LICHT (an important addition to the experience of that music) and in general to everyone who likes adventurous music that is excellent. The recording is of high clarity, with very direct sound allowing to deeply listen into the dense textures. The singing of the WDR choir is superb, the same choir which so successfully transmits the magic of the choral textures in the first act of MONTAG aus LICHT (see my essay, in the other two acts different choirs sing). The extensive CD booklet also contains fascinating excerpts from the score, highlighting the special textures and singing techniques involved. © Albrecht Moritz 2001, text edited 2005. Accessed 11.12.06 from - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1979 Germany 123 Karlheinz Stockhausen 1928 2378 images/works/Stockhausen-1987-montags_lied.jpg MONTAGS-GRUSS 34 min - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1986 Germany 123 Karlheinz Stockhausen 1928 2379 images/spacer.jpg MONTAGS-ABSCHIED 28 min. - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1986 Germany 123 Karlheinz Stockhausen 1928 2380 images/spacer.jpg CHOIRS of MONDAY from LIGHT 68 min., 30 sec. - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1987 Germany 123 Karlheinz Stockhausen 1928 2381 images/works/Stockhausen-1990-Octo.jpg OCTOPHONIE Oktophonie is a 69-minute multichannel tape piece which, in theory, could also do without a score. However, faithful to his long-standing tradition of creating beautiful realization scores, Stockhausen has carefully notated every musical and technical detail of Oktophonie to a excruciating definition level. The score has also a long introduction (32 pages almost entirely repeated twice, in German and in English) in which the process of creating and reproducing the music is described at length. Thus, we may think that this is a good example of an electronic music work sufficiently described to reconstruct the piece forever and ever. However, a deeper look (and even more, an attempt at reconstructing the piece) will unveil a few dark spots like the passing references to technology and software such as the now-legendary Atari 1040ST, the QUEG (Quadraphonic Effect Generator) and the Notator version 2.2 sequencer software. These references are completed only by photographic evidence — cf. Fig. 1, which unfortunately will not say much about the inner workings of these devices. The rest of the technical introduction contains a schematic description of the production system (cf. Fig. 2 — please note the reference to the “Notator diskettes”, with no further information of their contents), and the timings and dynamics of every track in every section. We are at a loss concerning the description of how the QUEG used to handle sound spatialization (inter-channel interpolation, measured amplitude ranges, etc.). The only reference on the web (3) does not help much either. The Atari 1040ST has become a true museum piece (4) and the company itself has long since gone into more profitable businesses. Emagic GmbH stopped supporting the Atari platform at the beginning of the new century and was bought by Apple Inc. in 2002. The company has refused to release the source code or the binaries of the Notator program claiming that “it could steal potential Notator Logic customers” (5) — so any form of data based on the Notator Sequencer running on an Atari platform is basically lost. Concerning this last point, there is only one chance: there is a a (possibly still on-going) voluntary community of affectionate Notator users which may help out with the diskettes (this is important because it shows a clear case on a central issue in memory conservation — the power of communities versus the unreliability of companies) .69 min Accessed 11.12.06 from - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1990 Germany 123 Karlheinz Stockhausen 1928 2382 images/spacer.jpg ELECTRONIC MUSIC with SOUND SCENES of FRIDAY from LIGHT 145 min - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1992 Germany 123 Karlheinz Stockhausen 1928 2383 images/spacer.jpg MITTWOCHS-ABSCHIED - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1996 Germany 123 Karlheinz Stockhausen 1928 2384 images/spacer.jpg MICHAELION Work at WDR cut short and was completed in his own studio with synthesizer (WEDNESDAY GREETING, 54 min.). - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1998 Germany 123 Karlheinz Stockhausen 1928 2388 images/spacer.jpg KLANG In 2004 I began this project, entitled KLANG (SOUND). The concert series PAUSE of the Milan Cathedral, directed by Don Luigi Garbini, commissioned the First Hour (ORA PRIMA), entitled HIMMELFAHRT (ASCENSION) for organ, soprano and tenor. It was world premièred on Ascension Day, May 5th 2005 at the Milan Cathedral. This was followed by a commission for the Second Hour (ORA SECONDA), entitled FREUDE (JOY) for 2 harps. The Third Hour NATÜRLICHE DAUERN (NATURAL DURATIONS) for piano was composed next and has not yet been finished. Angelica, the Italian concert series whose artistic director is Massimo Simonini, commissioned the Fourth Hour, entitled HIMMELS-TÜR (HEAVEN’S DOOR). It will be performed on June 13th 2006 in Lugo, Italy. At the moment, I cannot say very much about the possible development of KLANG (SOUND), The 24 Hours of the Day. But until now it seems that each hour contains the spiral of the 24 hours of the day and that the contents of the hours concern all of us. (It is recommended to ensure your entry to a heaven’s door already now.) Stockhausen, February 15th 2006 - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 2004 Germany 123 Karlheinz Stockhausen 1928 2390 images/works/Stockhausen-1988-Light.jpg LICHT LICHT with its Seven Days of the Week lasts about 29 hours of music: THURSDAY from LIGHT 240 minutes, SATURDAY from LIGHT 185 minutes, MONDAY from LIGHT 278 minutes, TUESDAY from LIGHT 156 minutes, FRIDAY from LIGHT 290 minutes, WEDNESDAY from LIGHT 267 minutes, SUNDAY from LIGHT 298 minutes. - all material copyrighted by the Stockhausen Foundation for Music, Kuerten, Germany 1988 Germany 114 Merzbow 1956 2503 images/works/Merzbow-1998-cbgb.jpg Live At CBGBs NYC 1998 1. The Alliance 3:17 2. The Destroyer And Merzbow 2:23 3. A Fire Will Burn 0:47 4. Nightmare Vision 2:08 5. The Full Destroyer/Merzbow Meltdown 4:26 6. The White Man Destroys His Own Race 2:28 7. Curse Of The Golden Angel 3:26 8. The Predator 1:49 9. Brooklyn Connection 2:10 10. Dawn 1:47 11. The Slayer Calls At Night 5:08 12. Blow This Thing 2:13 13. 606: The Number Of The Beast 1:00 14. 202 Lightyears From Home 1:18 15. Shock Treatment For Corporate Control 2:18 16. Enter The Forbidden Space 5:31 17. A Degenerated Nation Reacting To Fear 2:59 18. A Degenerated Nation Reacting To Fear Pt. II 8:25 19. Some Might Even Die... 4:08 - 2003 Germany 114 Merzbow 1956 2519 images/works/Merzbow-1992-eleven.jpg Eleven Live Collaborations 1. 3.7.1992 4:43 2. 4.7.1992 4:46 3. 5.7.1992 4:37 4. 6.7.1992 5:26 5. 7.7.1992 4:42 6. 7.7.1992 5:52 7. 8.7.1992 5:45 8. 9.7.1992 5:47 9. 10.7.1992 5:50 10. 10.7.1992 6:06 11. 10.7.1992 5:40 - 1992 Germany 51 Otomo Yoshihide 1959 2521 images/works/Yoshihide-1995-wohlstand.jpg Wohlstand: German-Japanese Noise-Compilation 1. UFO or Die - Dog Wave (3:00) UFO or Die: Eye Yamatsuka: guitar, sampler Yoshimi: drums, vocal Hayashi: bass 2. Fünf - Anstatt (2:48) Fünf: Herman Herrmann 3. Ground Zero - Zero 890604 / China White (5:31) Ground Zero: Otomo Yoshihide: turntables, guitar Hideki Kato: bass Masahiro Uemura: drums Junji Hirose: tenor sax, soprano sax Shuichi Chino: keyboards Eye Yamatsuka: vocal Recorded and mixed by Yoshiaki Kondo at GOK Sound in Tokyo Produced by Hoppy Kamiyama 4. Melt Banana - Scrubber (1:28) Melt Banana: YaSuKo O.: voice Rika mm: bass Sudoh, T.: drums Agata: guitar 5. Knochengirl - 1234 ihr (3:43) 6. Merzbow - Ooga Booga (5:26) Merzbow: Masami Akita Recorded at ZSF Produkt Studio on January 6, 1994 7. Kissfreak Steven - Ice Cold Hut (5:06) 8. Omoide Hatoba - Anarchy (2:59) Omoide Hatoba: Seiichi Yamamoto: guitar, percussion, synthesizer Atsushi Tsuyama: bass, guitar, drums Chu Hasegawa: drums, percussion, organ, synthesizer, fudora, koto 9. Party Diktator - Big Mouth (2:40) 10. Zeni Geva - New Flesh (2:44) Zeni Geva: Null: vocal, guitars, words Tabata: guitars Eito: drums, metals Produced by Zeni Geva and Steve Albini 11. Mutter - Wer ist das Mädchen (5:06) Mutter: Florian Körner von Gustorf: drums Max Müller: vocal Frank Behnke: guitar Kerl Fieser: bass 12. Dead Chikens - Psycholomedo (4:55) 13. Ruins - Hyderomastgroningem (1:27) Ruins: Tatsuya Yoshida: drums, vocal Ryuichi Masuda: bass, vocal 14. Surrogat - Frauen riechen (3:59) 15. Trickbeat - Dizzy Moonlight (4:06) Trickbeat: Theo: Querulator, stimmulator Ax?l: simulator 16. Violent Onsen Geisha - Scream Rock Balloon (4:15) 17. Space Streakings - Kaiki Suspense Kumo Otoko (Remix) (4:06) Space Streakings: Sreaming Stomach: vocal, guitar, trumpet Captain Insect: bass, programming, voice Karate Condor: disco attacker, dragon ballz, voice Kame Bazooka: vocal, sax, bazooka horn Produced by Space Streakings and K.K. Null 18. Siefwolf - Rhythmisch/Animalisch (5:14) 19. Null - Wall of Silence (3:27) 20. H.P. Neidhardt - Dont Cry for Me Katja (2:00) Accessed 12.12.06 from - 1995 Germany 59 Z'EV 1951 2590 images/works/ZEV-2004-tocsin.jpg Tocsin -6 Thru +2 With Organum. Original recording session 26 January 2004 at RMS Studios London. Instruments: - Stainless steel piece constructed by Zev circa 1989 from materials sourced at Bow Road Scrapyard. - Grand piano built by George ROgers and Sons during the reign of Victoria Regina Et Imperatrix. Zev compositions begun 26 January. They were completed on 31 January and rest in the public domain. David Jackman compositions begun 2 February. They formed slowly and were completed on 1 April and are © copyright David Jackman 2004. Edition of 600 copies in full colour 4 panel digisleeve. 2004 Germany 59 Z'EV 1951 2594 images/works/ZEV-2006-viva.jpeg Viva Negativa! - A Tribute To The New Blockaders Vol.1 Tracklisting: A1 Asmus Tietchens Kranzniederlegung A2 Keith Fullerton Whitman Sept. 27th 1960 A3 Nocturnal Emissions This Morphing Viod A4 Plethora Last Night I Dremt Of Anti-Fest, This Morning I Woke Up Deaf A5 Silvum Discreet Charms B1 SRMeixner The Church Of The Absurd B2 Haters, The Mantra To Rot B3 Daniel Menche Smoldered Blockaders B4 Nobuo Yamada Prickle / Crevice B5 Komafuzz Damage Ax C1 Ashtray Navigations New Paint For Antisilence C2 Zbigniew Karkowski Chopped Mod C3 Anomali T.N.B.R.I.P. C4 John Wiese Annul C5 Benzo Nothing Controls Something D1 Vortex Campaign The Black Box D2 Evil Moisture New Kids On The Blockadres D3 Cisfinitum Out D4 Massimo (2) History Of Everything D5 MSBR TNSBRupenus E1 Jason Kahn Rille E2 Controlled Bleeding The Latest Hole In My Head E3 Pita TNB II53 E4 V/Vm What A Way To Go Shakey E5 Treriksröset Negativt Fortroandekapital F1 Grunt Saarto F2 Thurston Moore Corion Sound For T.N.B. F3 Richard Ramirez Cultural Blockade F4 Scanner Kohekohe G1 Oren Ambarchi Something From Nothing G2 Emil Beaulieau Anti-Vartan G3 Dieter Müh HOHL G4 ZEV Chips For The New Block G5 Lockweld Catharsis Bomb H1 Kraang Silvers On Glass And Steel H2 K.K. Null Song X H3 Prurient Majdanek Slaughterhouse H4 Freiband Nichts 4 x Vinyl, LP Box Set 2006 Germany 13 Paul D. Miller 1974 2654 images/works/Miller-2000-ruttman.gif Walter Ruttman Weekend Remix Essentially my remix is the encounter between two cultures, both of which in a state of transition – just like in Germany between the two World Wars, there is in America a great sense of uncertainty as the century ends. All seen, of course, through the eyes of a young Afro-American man. Accessed 06.04 .2007 from - 2000 Germany 13 Paul D. Miller 1974 2655 images/spacer.jpg wknd 58 Remix “There is constant noise on the recording, and thats what I had to work with. Instead of trying to eliminate it as completely as possible by technical means, I decided to do the opposite. Accessed 06.04.2007 from - 2000 Germany 150 George Brecht 1924 2716 images/spacer.jpg La Cédille qui sourit [catalogue] George Brecht, Robert Filliou, La cédille qui sourit : eine Ausstellung in drei Teilen = an exhibition in three parts = une exposition en trois parties : Städtisches Museum Mönchengladbach, 18. Juni-27. Juli 1969 (Städtisches Museum : Mönchengladbach 1969) 1 portfolio (with ill.) ; 16 x 21 cm. + 1 matchbox with 4 hooks. Limited ed. of 440 copies. - 1969 Germany 150 George Brecht 1924 2718 images/spacer.jpg George Brecht Boxes - 1972 Germany 150 George Brecht 1924 2724 images/works/Brecht-1987-void-stone.jpg Three VOID-Stones 1. The word >VOID< is chiseled into a boulder already Iying in the park located between the palace moat and Edith-Stein Strasse. 2. The word >VOID< is chiseled into a stone selected at random from the Findlingshof. (The selection is made using a table of random numbers, from 36 photographs of the Findlingshof made by Rudolf Wakonigg.) This stone is then placed at a random point in Münsters inner city. (This point is also selected by using a table of random numbers.) 3. The same process as in 2, except that any point on a certain map of Münster (not limited to the inner city) is chosen at random. George Brecht, April 1987. Words, though, have different values in different languages. Void has been chiselled into a boulder. The younger a language, the more simple its grammar, the more universal its terms. The German language, older than the English and therefore more precise (foreigners say: more complicated, which is also true), makes the distinction between Leere (noun), leer (adjective), and leeren (verb); void encompasses all three forms. The realisation of these forms/meanings is borne by the densest mass which we know in OUT everyday lives (unlese we are natural scientists): a stone. An enormous, although lost stone, all by itself on a green play area, a findling, separated from its original environment by an ice-age glacier stream. The concise, paradoxical reversal abruptly provokes (this is exactly the method of Zen) while lying amongst playing children - a reflection about the cosmic laws of density and void, about gravity and freedom of the mind. Whoever feels sorry because of the chiselling into the findling: an entrepreneur near Münster imports such boulders from all over the world for gravestones ... Text by Georg Jappe from Rundgang / Guide, 1987 - 1987 Germany 150 George Brecht 1924 2725 images/spacer.jpg George Brecht - 40 Werke der letzten 15 Jahre - 2000 Germany 150 George Brecht 1924 2728 images/spacer.jpg DAprès George Brecht - 2002 Germany 150 George Brecht 1924 2730 images/works/brecht-2005-poster.jpg George Brecht - Events - Eine Heterospektive [catalogue] Alfred M. Fischer (Hrsg.), George Brecht Events. Eine Heterospektive = a Heterospective / Julia Robinson (Walter König : Köln 2005). * [review] Anna Dezeuze, Brecht for beginners in Papers of Surrealism Issue 4 (Winter 2005). - 2005 Germany 95 Bruce Nauman 1941 2742 images/spacer.jpg Square Depression For the exhibit in 2007, it will be located at its original site, near the Institutes of Sciences of the university (Wilhelm-Klemm-Straße). " has often been labelled "negative pyramid". In this work, Nauman builds a "geomorphologic depression". The sculpture is a city square-like structure with a diameter of 25 metres, a square hole, whose edges descend toward the centre. When standing at the centre, the outer edges are at eye level. The beholder is on a "negative stage": It is, actually the viewer, who is being presented in the centre of the sculpture. - 2007 Germany 8 Susan Philipsz 1965 2749 images/spacer.jpg unknown work - 2006 Germany 8 Susan Philipsz 1965 2752 images/spacer.jpg unknown work - 2006 Germany 8 Susan Philipsz 1965 2754 images/spacer.jpg Carnival of the Animals The Scottish artist Susan Philipsz plans a project consisting of two parts. A single performance of synchronised swimming will be presented to Camille Saint-Saëns music, Carnival of the Animals in the municipal Stadtbad Mitte pool. On the opening day of sculpture projects münster 07, the athletes will perform a choreography to the *Can-Can of the Turtles. Saint-Saëns Turtles are a reference to the Can-Can in Jacques Offenbachs composition Orpheus in the Underworld. Whereas Offenbach has the dancers perform at great speed, Saint-Saëns has the string instruments play their parts as slow as turtles. This persiflage was why Saint-Saëns did not want to have his Carnival of the Animals performed during his lifetime. He feared for his reputation. The second part of Susan Philipsz project is an audio installation, that will be presented throughout the duration of the exhibit. Accessed 08.04.2007 from - 2007 Germany 149 Nam June Paik 1932 2755 images/works/Paik-1997-32cars.jpg 32 cars for the 20th century: play Mozarts Requiem quietly Nam June Paik erected a gigantic installation, consisting of 32 automobiles from the 1920s-1950s, on the square in front of the Münster castle. The artist chose the number of cars with regard to the year of his birth, 1932. The cars are not in drivable condition; instead the installation centers more around the auto bodies themselves, without their motors and other mechanisms. They are arranged in eight groups of various shapes, such as a circle, triangle, zig-zag, etc. Electric junk, old televisions, and radios lie inside the disemboweled autos. If one listens closely, Mozarts Requiem can be heard playing very quietly in some of the cars. The Sammeltitel of the 32 cars is: play Mozarts Requiem. Mozarts Requiem must be played from Sundown to 11.30 pm until people complain about it. Characteristics of the 20th century are 1. Organized violence 2. Media 3. Car-cult One common denominator which goes through all 3 factors is consumerism (violence is the No. 1 item for the consumers). Titles - Matzner, choose: 1. 32 Cars for 20 Megatods 2. Requiem 20/32 3. 20/32 Requiem 4. Adieu Marlene 20/32 5. 20/32 Herz 6. 20/32 Mega Herz 7. 20/32 8. 20 ± Mega Tods 9. 20 Megatod Century + 32 PAIK 10. 20 Megadeath Century ± 32 PAIK 11. 32 Cars for 20 Megadeath Century 12. 20/32 Adieu 13. 20 Megadeath Century + 32 14. Megatod Jrhdt + 32 15. For 20 Megatod Jrhdt 16. 20 Megadeath Century - adieu / 32 17. 20/32 Megadeath Century 18. 32 cars for the 20th century: play Mozart s Requiem quietly . Accessed 08.04.2007 from - 1997 Germany 30 Carsten Nicolai 1965 2764 images/spacer.jpg Transform - 2001 Germany 151 George Maciunas 1931 2769 images/spacer.jpg Fluxus Manifesto 1962 Germany 151 George Maciunas 1931 2779 images/spacer.jpg New York-Downtown Manhattan: Soho The catalogue for the show is over 400 pages, with illustrations, biographies of the participating artists, and articles about Soho by Rene Block, Lawrence Alloway, Peter Frank, Lucy Lipard, Douglas Davis, Stephen Reichert and Joan La Barbara. - 1975 Germany 149 Nam June Paik 1932 2784 images/spacer.jpg Neo-Dada in der Musik - 1962 Germany 151 George Maciunas 1931 2785 images/spacer.jpg The Fluxus International Festival Of Very New Music The first and most ambitious of a series of performances that later became known as the Festum Fluxorum. The composers present at Wiesbaden (including Alison Knowles and her artist husband Dick Higgins, Nam June Paik, Robert Filliou, Arthur Koepcke, Wolf Vostell, Emmett Williams, Thomas Schmit, Ben Patterson and George Maciunas) performed not only their own works, but also many pieces by the likes of Yoko Ono, John Cage, Jackson Mac Low, Robert Watts and La Monte Young. Sometimes the audience became the performers, as with Terry Rileys Ear Piece For Audience: The performer takes any object(s) such as a piece of paper, cardboard, plastic etc. and places it on his ear(s). He then produces the sound by rubbing, scratching, tapping or tearing it or simply dragging it across his ear, he also may just hold it there, it may be placed in counterpoint with any other piece of sound source. This, like many other pieces performed during the festival, was included in the - at that time - unpublished An Anthology, the paste-up of which Maciunas had brought with him to Europe. The bizarre and destructive nature of some performances - which included the destruction of musical instruments, shaving exercises, and a leap into a bathtub filled with water - attracted a certain amount of media coverage. The festival as a whole highlighted the difference between what Maciunas would later label the monomorphic neo-haiku flux-event and the mixed media neo-baroque happening . That is to say that although the fluxus performances were intermedial, in the sense that they fell between various disciplines such as music and visual arts, each composition focused on a single event isolated from any other action and was presented as an iconoclastic insight into the nature of reality itself. Thus the emphasis in flux-work was on structural simplicity, and its protagonists placed it in the tradition of the natural event, Marcel Duchamp, jokes, gags, Dada, John Cage and Bauhaus Functionalism. Accessed 08.04.2007 from - 1962 Germany 149 Nam June Paik 1932 4490 images/spacer.jpg My Jubilee Ist Unverhemmet ...In 2 weeks I will be 45. It is time for Archeology of Avantgarde. I lived in Korea in the 40's, where only available informations were from Japanese books printed before world War II. Therefore it was great luck that I heard the name of Arnold Schoenberg in 1947 or so. He immediately interested me, because he was written as a devil or the most extreme avantgarde. However there were no record or scores of Schoenberg available in Korea in 1947, except for a pirate edition of his op 33 a piano piece. It took 2 or 3 years of desperate struggle to find only available record, which was released in the pre-war Japan, Verklarte Nacht. I will not forget forever the exitement of holding this fragile 78 RPM record in my hand like a jewel from Egyptian tomb. And I cannot forget the disappointment of this record, which was purely a Wagnerian Quatsch. Korean war came soon after. 25 years after this experience I found the same record of Schoenberg in a flea market in New York. I played this record 4 times slower (on 16 RPM) in a Merce Cunningham dance event. Merce smiled and said: "You improved Schoenberg". Hamburg 2/7/1977 Nam June Paik (liner notes). B-side has grey/black art by Nam June Paik. Hand numbered and signed by the artist on the record label. Edition of 100 copies. Accessed 12.08.2009 from 1977 Germany audio/Paik_My_Jubilee_ist_Unverhemmet-1977.mp3 79 Andres Bosshard 1955 2880 images/works/Bosshard-1996-mana.jpg manandarbandr Klänge rotieren um ein unsichtbares Zentrum in einem offenen Innenhof, schrauben sich vertikal in die Höhe und werden von den nahen Hausfassaden vielfach verspiegelt zurückgeworfen. In einem der anliegenden Innenräume werden die eben aufgetauchten Klänge abgehört, auf eine Innenkreisbahn geschickt und wieder nach draußen ins offene Klangfeld geleitet. Drei verschiedene Räume werden akustisch zusammengeschaltet, bilden Resonanzkammern einer zusammenhängenden, offenen Klangarchitektur. Im geschlossenen Klangraum werden in einem dreidimensionalen Modell der gesamten Umgebung verschiedene Hörpunkte wiedergegeben. Die gesamte Netzwerkinstallation wird während vier Wochen laufend ausgebaut und auf drei verschiedene Arten betrieben: latent automatisiert, interaktiv stimuliert und von MusikerInnen gesteuert und bespielt. Manandarbandr (wörtlich etwa: schnell herumfliegende Klangkugel, sich um sich selbst drehender Resonanzzylinder) ist ein unsichtbarer, klingender Nachbau von Jai Singhs begehbaren ›Zeitmaschinen‹, den Jantar Mantars (Jaipur, Delhi, Benares, 17. Jahrhundert) Andres Bosshard - 1996 Germany audio/Bosshard-xxxxx-_Mananderbandr.wav 227 Llorenc Barber 1948 3952 images/spacer.jpg Spargens Sonum Bells - Llorenç Barber Bells [Carillon] - Jeffery Bossin 1996 Germany audio/Barber-xxxx-Spargens_Sonum.wav 47 Laurie Anderson 1947 2878 images/works/Anderson-1996-whirlw.jpg Whirlwind You know Stephen W. Hawking has this theory – about information and where it goes when it disappears. According to his theory, when a black hole implodes all the information about the objects that have disappeared begins to skid down an infinitely long tunnel. All those numbers and calculations and deviations are swirling around in a huge whirlwind. So here are the questions: Is time long? Or is it wide? Are things getting better or are they getting worse? Can we start all over again? You know I did an interview with John Cage and I spent some time with him and I noticed that he seemed to be such a happy guy. I mean he was eighty years old and he was always smiling. Now a lot of old people are in pretty bad moods by that point but he wasn’t and I was supposed to be asking him about music and information theories but what I really wanted to know was whether he thought things were getting better or worse, because this was something that was really just on my mind. But it seemed like such a stupid question that I was afraid to ask. So I talked around it for a while, sort of building up to it, and I was saying things like Well according to theories of evolution, if there was a race between a modern horse and a prehistoric horse the modern horse would win because it’s faster more efficient it has adapted and are we like that too? And then on the other hand, according to Richard Dawkins, there are some problems with this. For example, it would have been a great thing if fire-breathing animals had evolved. I mean this would have been a very convenient thing just – wwwff! cook your food on the spot. And then asbestos coated nostrils could have evolved so the nose wouldn’t get singed and so on… but the fire-breathers never evolved and why didn’t they since… Finally Cage said, Exactly what are you trying to say? And I said Arethingsgettingbetteroraretheygettingworse? And he stopped only for a moment and said, Oh better. Much better. I’m sure of that. It’s just that we can’t see it. It’s just that change happens so slowly. Laurie Anderson Accessed 31.05.2007 from 1996 Germany audio/Anderson-xxxx-Whirlwind.wav 230 Gunter Demnig 1947 3691 images/works/Demnig-1991-Schwarzer.jpg Schwarser Klangwagen, 3 Schwarze Klangturme 1991 Germany audio/Demnig-xxxx-Drei_Schwarze_Türme.wav 207 Georg Ulrich Eller 1953 3943 images/spacer.jpg Im Kreis der Trommeln Zentral im Raum und in kreisförmiger Ausdehnung stehen 40 auf Originalständern montierte Snaredrums. Alle Trommeln sind gleichen Bautyps und mit einem Lautsprecher je Kessel versehen. Die räumlichen Abstände zwischen den Objekten sind so gewählt, daß ein bequemes Durchlaufen möglich ist. Beim Betreten des Trommelfeldes wird ein in Lautstärke und Aktivitätszeit variierter Grundton auf alle 40 Trommeln verteilt. Die akustische Zuordnung erfolgt durch ein rechnergestütztes Programm, welches nach einer festgelegten Partitur arbeitet und manchmal nur ein Objekt, Objektgruppen oder auch alle Objekte zur selben Zeit aktiviert. Zufall und Stille sind dabei ebenso kompositionelle Bestandteile wie etwa sich wiederholende, rhythmische Pattern oder wiedererkennbare akustische Bewegungen im gesamten Trommelfeld. Tonalitätssprünge werden über die Stimmbarkeit eines jeden Schlagfells erzeugt, wobei der in Zeitlänge und Charakteristik variierte Ausgangsimpuls rein physikalisch nur dazu dient, die Eigenresonanz jeder Trommel für einen kurzen Augenblick hörbar zu machen, die dann in ihrem Snaredrum-typischen Sound reagiert. Beim Eintreten in den Trommelkreis befinden sich die Hörer in einer stetig wechselnden, verräumlichten Geräuschbewegung aus individuellen und kollektiven akustischen Aktionswechseln. Der ruhigen, zentrierten Kreisform der Gesamtanordnung wird damit eine gänzlich andere Geräuschübersetzung zuteil, ein virulenter, nicht kalkulierbarer Hörvorgang, der den gesamten Innenraum erfaßt und stark zum Durchlaufen des Feldes anregt, da ein variierter Hörpunkt immer andere räumlich-auditive Eindrücke bereithält. Accessed 24.07.2008 from 1996 Germany audio/Eller-xxxx-Im_Kreis_Der_Trommeln.wav 222 Terry Fox 1943 3942 images/spacer.jpg School of Velocity The sound documentation from the Sonambiente festival held from 9 August to 8 September 1996 in Berlin. 1996 Germany audio/Fox-xxxx-The_School_Of_Velocity.wav 219 Limpe Fuchs 1941 3554 images/works/Fuchs-1987-Fruchstucke.jpg Bruchstücke für Ilona von Anima und Achim Freyer, Paul und Limpe Fuchs, Zoro Babel (Ballastsaiten und andere Instrumenten): Ein Gang durch ungewöhnliche Klangwelten, erzeugt u.a. auf Saiten, die mit Gewichten an verstärkenden Membranen aufgehängt sind. Klangskulpturen, Raumklänge, Fremdes – beeindruckend. Accessed 24.03.2008 from 1987 Germany audio/Fuchs-xxxx-Ballastsaiten-Ensemble.wav 232 Josefine Guenschel 1960 3502 images/works/Gunschel-1991-Untitled.jpg Ohne Titel Notes on Josefine Günschel’s installation in the Gallery o zwei A work of art especially suited to dark November days can be found in the Gallery o zwei. Anyone who decides to leave his dimly-lit den and make his way across the shiny cobblestones, collar upturned, into the brightly-lit gallery will find an illustrated excursion into the mechanical workings of melancholy. Günschel, who, in projects such as’ Nachtbogen’, has been known for her delicately provocative disruptions to our perceptions, has directed her attention to the “the lazy burden of the world” as one baroque poet said when describing the feeling of melancholy. Laziness is a burden, the very nature of which consists of the desire to overcome itself. The condition of wanting to overcome is often replaced by the mundane, habitual behaviour of reluctance. Rejection in its turn is clearly seen in body language - the body reflects inner states of being which language seeks to transform in order to conceal awareness. Günschel has placed a row of ash-grey pillars in the room and exposed them to machinery that strikes out at them with groaning, metallic sounds. The columns sway, bend, keel forward and finally fall back, almost into their original positions. The striking action is timed and distributed in such a way as to hinder the establishing of a normal momentum. From time to time, the columns come to a standstill, the heaviness that was apparent in their structured movements giving way to the floating ease of motionlessness. The possibility that stillness can be experienced in contradictory ways as: a voluntary letting go; an acceptance or resignation to the condition of being; a forced presence; doing nothing and being still, or that it can be experienced as a deep outwards breath or as a cold freezing up – that such an array of possibilities are incorporated in one concept is but one of the lines of association Günschel’s work sets into motion. The structures of movement, from which Günschel only shows us an extract, awaken in the viewer’s entire body an awareness of how tiresome the nature of existence can be and reminds him or her how their efforts to overcome the lethargy in their bodies as well as the inertia in their hearts are often comically helpless and futile. The fact that the viewer, being made aware of movement, is also made aware of the complexities of his or her inner condition speaks of the strength and precision of the work. “One never shares thoughts, one shares movements, expressive signs from which we read backwards to the thoughts”. (Nietzsche) [Christine Hoffmann] Accessed 14.04.2008 from Motors, steel, foam material, hessian 1991 Germany audio/Gunschel-xxxx-O_T.wav 231 Dennis Guen 1956 3501 images/works/Gun-1996-Hommage.jpg Un Hommage a Heiner Muller Glass, metal, loudspeaker, soundtrack, voice/text 1996 Germany audio/Gun-xxxx-Un_Hommage_À_Heiner_Müller.wav 233 Matt Heckert 1957 3699 images/works/Heckert-1996-Spine.gif Metal Spine 1996 Germany audio/Herckert-xxxx-Metal_Spine.wav 234 Felix Hess 1941 3622 images/works/Hess-1995-Light.jpg How Light is Changed into Sound Kettle, piezo, solar cells, custom electronics 1995 Germany audio/Hess-xxxx-How_Light_Is_Changed_Into_Sound.wav 236 Robert Jacobsen 1963 3627 images/works/Jacobsen-1996-Robots.jpg Robots 1996 Germany audio/Jacobsen-xxxx-Robots.wav 188 Rolf Julius 1939 3661 images/works/Julius-1995-Eisen.jpg 3 x Eisen 1995 Germany audio/Julius-xxxx-Eisenfeld.wav 90 Ron Kuivila 1955 2882 images/works/Kuivila-1983-Sailing.jpg Hothouse (treibhaus) Es bereitet ein gewisses Vergnügen, an Orten zu sein, wo die Bedingungen für Menschen kaum zu ertragen sind. Eine Art Wahrheit scheint in der Unbequemlichkeit zu lauern. Anfang der 50er Jahre hatten Ingenieure der Bell Laboratorien beim Herumspielen mit den ersten Tonbandgeräten die geistreiche Idee, das Zirpen von Grillen aufzunehmen, um herauszufinden, ob Tonbandaufnahmen deren Verhalten beeinflussen könnten. Es gab aber ein Problem: Grillen beginnen ab 20 kHz zu hören, einer Tonhöhe, von der an Menschen taub sind. Der ›Klang‹ von Grillen für Menschen und der ›Klang‹ von Grillen für Grillen sind zwei völlig verschiedene Dinge. Als Spezien sind wir gegenseitig taub. Hothouse verknüpft diese beiden Beobachtungen. Die Installation befindet sich in einem gläsernen Dachstuhl, der im Sommer eine Hitze von 50° Celsius erreichen kann und besteht aus einer Reihe von Rotoren, die verschiedene Frequenzen im Bereich von 40 kHz aussenden. Die Rotoren schleudern ihre Töne durch den Raum und verleihen diesen Klängen entsprechende Bewegungsmuster. Außerdem erzeugt dieses Schleudern Muster von Dopplereffekten und verleiht somit jedem Rotor seinen eigenen charakteristischen ›Ruf‹. Keiner dieser Klänge ist hörbar; sie sind für unsere Ohren eine Oktave zu hoch. So werden spezielle Mikrophone verwendet, die eine hörbare ›Grillenohr-Version der Welt‹ erzeugen, um unsere Taubheit zu überwinden. Ron Kuivila. Accssed 31.05.2007 from - 1996 Germany audio/Kuivila-xxxx-Hothouse.wav 78 Bernhard Leitner 1938 2884 images/spacer.jpg ton-raum-variationen Gewölbe. Sich wölben. Töne ziehen eine bekrönend-halbkreisartige Linie im Raum. Aus Klang gebautes Wölben. Trocken-rasch am Becken geschlagene Klänge formen den gewölbten Raum. Gekrümmter Klang. Mit einem Diminuendo, die Krümmungslinie verlangsamend, steigen Töne aus der Basis des Bogens zum Scheitel auf, um nach Durchlaufen des Pianissimo-Scheitels auf der anderen Seite der Schale mit Accelerando/Crescendo die Raum-Wölbung zu vollenden. Stereofones Wölben. Gegenläufig, sich im Scheitel durchdringend. Klang-symmetrisch gleichzeitiges Aufsteigen und Absinken einer Wölbung. Über dem Kopf den Zenit hören, den Augenblick eines Schlußsteines im Klang-Firmament. Bernhard Leitner - 1996 Germany audio/Leitner-Ton-Raum-Variationen.wav 32 Alvin Lucier 1931 2885 images/works/Lucier-1996-locales.jpg locales Ich bin an Ursache und Wirkung interessiert, aber nur, wenn zwischen Ursache und Wirkung etwas passiert, so daß die Wirkung nicht wirklich auf die Ursache bezogen erscheint … Mein Problem ist zu entscheiden, was von meinen Werken installiert und was aufgeführt werden soll. Alvin Lucier, 1994 - 1996 Germany audio/Lucier-xxxx-Locales.wav 164 Gordon Monahan 1956 3051 images/works/Monahan-1996-spontaneously.jpeg Spontaneously Harmonious in Certain Kinds of Weather This aeolian piece functions in an indoor space using wind draughts caused by pressure and temperature differences between outdoor and indoor atmospheres. Selected windows in the upper belltower room of Parochial Kirche (Berlin) are opened, and a room-within-a-room is constructed in the belltower, thus isolating these two different atmospheric pressures. The cold air inside the belltower is pushed down the stairwell by hot air flowing into the tower through the open window(s). The air flows through a 20 to 30 mm aperture between two parallel panels of glass and steel sheet, which form a frame approximately 30 cm. x 8 meters in dimension. This frame-aperture is mounted into the ceiling of the inner room and stretched between two pillars. Between the steel and glass aperture is an array of music wires stretched parallel to the surface of the steel sheet and contacted to the sheet by small metal sound bridges. The air flows over the strings causing them to vibrate in an aeolian mode, and the harmonic tones created are amplified by contact to the steel sheet through the sound bridges. Additional amplification may be also necessary, using electrical means (piezo pick-ups and small PA). The frequency and intensity of tones vary according to the pressure differences on the two sides of the aperture. Texts pertaining to historical observations of aeolian phenomena, dating to the rennaisance, are printed on acetate sheets and laid over the glass. Because the production of sound in this case is wholly dependent on natural systems, the public may or may not be present when the most interesting sound is produced. Some visitors may not hear any sound at all. This raises aesthetic questions of performance/non-performance, withholding of such performance, and being there or missing the music or the message. ©Gordon Monahan 1996 Accessed 02.07.2007 from - 1996 Germany audio/Monahan-xxxx-Spontaneously_Harmonious_In_Certain_Kinds_Of_Weather.wav 149 Nam June Paik 1932 2887 images/spacer.jpg requiem for turkish soldiers who died in the korean war - 1996 Germany audio/Paik-xxxx-Requiem_For_Turkish_Soldiers_Who_Died_In_The_Korean_War.wav 244 Martin Riches 1953 3712 images/works/Riches-1985-A_Note.gif Ein Ton / A Note 1996 Germany audio/Riches-xxxx-One_Note-Ein_Ton.wav 170 Akio Suzuki 1941 3330 images/works/Suzuki-1996-OtoDate1.jpg Otodate (Echo point) - 1996 Germany audio/Suzuki-xxxx-_Otodate.wav 223 Peter Vogel 1938 3721 images/works/Vogel-1996-Berliner.jpg Berliner Klandwand/Rhythmic Sound 18 fotocells, stereoverstarker, 590cm long 1996 Germany audio/Vogel-xxxx--Berliner_Klangwand___Rhythmic_Sounds.wav 212 Mauricio Kagel 1931 3567 images/spacer.jpg Der Schall Edward H. Tarr, Vinko Globokar, Karlheinz Botner, Wilhelm Bruck, Christoph Caskel: plucked, percussion and wind instruments Mauricio Kagel: direction Accessed 24.03.2008 from Ubuweb for five players w/ 54 instruments 1968 Germany audio/Kagel-1968-Der_Schall-01.wav 212 Mauricio Kagel 1931 3566 images/spacer.jpg ACUSTICA Kölner Ensemble für Neue Musik I. Christoph Caskel II. Karlheinz Böttner III. Edward H. Tarr IV. Wilhelm Bruck V. Vinko Globokar Formation of the palyers during recording session: III II IV I V Produced by Karl Faust Artistic supervision and sound direction: Mauricio Kagel Recorded Studio Rhenus, Godof Bei Köln (28. - 31. 1. 1971) Co-production with the West German Radio, Cologne (WDR) Each side of the two records is to be taken as an independent section. The author does not expect the listener to follow the complete recording in one session. ACUSTICA for experimental sound-producers and loud-speakers One of the fundamental thoughts behind this composition is expressed in the actual invention of the sound-sources: new instruments as self-evident supplement to currently existent sound-makers (together with experimental acoustical equipment, the manipulation of which presupposes a diverse musical faculty). Some examples: Castanette-Keyboard with a scale of diameters from 1 4/5 to 7 1/5 which can be tuned by means of double-bass pegs in the action-tention (with the result that even deep-sounding castanettes will sound clearly when played extremely quickly); two sets of Bull-Roarers (one with an aerodynamic profile, the other out of plain pieces of wood), which are wielded by hand and worked by twisted rubber band. Nail-Violin, a form of the idiophonic friction-instrument invented in the mid-18th century, with 16 iron rods of equal width but of different lengths (between 2 1/25 and 16 4/5; temperature 15and#8730;8) which vibrate transversally when played with a cello or double-bass bow; Roundpeg-Violin, a version of the nail-violin (9 wooden sticks between 3 23/25 and 3; temperature 8and#8730;9); Scabella, clapper-sandals worn by Ancient Roman choir-leaders, but fitted with a hinge in the middle of the sole, so that the performer can achieve audible results with the minimum of effort; Hinged-board (Crepitacolo), a flat piece of wood with various handles attached which the iron parts hit according to the force with which it is shaken back and forth ( a new version of the original church bell); five-tongued Ratchet with common crankshaft, the cogwheel frequency of which is tuned in five stages, so that the loudness of the noise can be influenced by altering the tongue-setting; Pick-ups and Diaphragms in as many forms as possible (other than the usual ones), in order to explore the devious route to higher sub-fidelity: e.g. plastic funnel and knife-feather and ukelele, sandpaper and drawing pin, matches with and without box; Cross-blower for the timbre-modulation of the pages of a book; Balloons as resonators for wind instruments and as (regained) air-supply in the production of oral processes; Pipe-branch, a piece of narrow hose approx. 130 long with connections (on the ends of which organ pipes [mixtures] and penny-whistles are attached), which is fed by a compressed-air cylinder of 27 cubic feet capacity (an aerophone for collective use, where only generously-minded players can play together: should one of the performers divert the air-current for himself alone, all the others will be made silent); Gas blow-lamp, to produce vibrations in pipes, the fundamental frequency of which is reached by altering its total length; Mutes for wind instruments with built-in loudspeakers which permit a perfect diaphony with the simultaneous playback from the tape recorder of the blown notes; Megaphones, likewise with built-in loudspeakers (also to be used by contestants, in which case power-saving cassette-recorders are switched on to drown the puny volume of the official side); Humming-loudspeaker (the German term Summenlautsprecher derives both from Summe = sum and from summen = to hum), the diaphragm of which is worked on with various articles during the performance (so that the loudspeaker becomes more of an instrument than an actual loudspeaker). The work consists of two -- almost separate -- plains; one constitutes the playback of a 4-track tape recorder with a fixed sequence, whereas the second derives from the playing of 2 to 5 musicians which can be varied from performance to performance in the construction of acoustic material and in the manner of interreaction. I have deliberately avoided combining both plains as I have always had the impression-also in my works which display similar problems-that the attempt to weld together electronic and instrumental music is more wishful thinking on the part of the listener than acoustical reality. (On the other hand, this blending is immediately attainable if the total sound comes from the loudspeaker). The four-track tape was produced in Winter of 1969 in the electronic music studio of West German Radio, Cologne (WDR). The recording consists of purely electro-acoustically produced material as well as recordings of instrumental and vocal sounds which were not manipulated. (Apart from the instruments, the voices of Alfred Feussner and William Pearson are to be heard). The point of departure for this tape-composition was to compound as homogeneously as possible, two categories of sounds, dissimilar in the nature of their production (a combination which seemed to me over-simplified when produced by means of a metamorphosis of the concrete recordings by filtering, ring modulation, alteration of the tape playback ). It should rather be achieved by similar treatment of instruments and electronic sound-production. The similarity between the procedure in the composition of the electronic material and the way in which I set instruments and their playing-function, made a mechanical transformation - mechanical since electrical, but worked by hand-of the recording unnecessary. The instrumental part of the work was written on approx. 200 filing-cards, in the top right-hand corner of which the relevant main-instrument is indicated by a symbol. Neither the order of the cards nor the manner of ensemble are specified-every action is, however, exactly predetermined. The performers always decide the point of their entries; this freedom demands, however, a perfect mastery of text and context. Thus the performers achieve more than a mere reproduction of their parts, as they incorporate influences from another in their playing as if they were audience of themselves. ACUSTICA, one of my most extensive works of recent years, is written in memory of Alfred Feussner, my early-departed friend. Accessed 24.02.2008 from 1971 Germany audio/Kagel--1971-Acustica-04.wav 211 Nobert Walter Peters 1953 3810 images/works/Peters-1991-EKSIT.jpg EKSIT Accessed 21.04.2008 from 14 mono tape recorders, 14 endless tapes,`linen/clorophyll/rust/smudge 1991 Germany audio/Peters-1991-EKSIT.wav 79 Andres Bosshard 1955 3828 images/works/Bosshard-2002-Zirrus.jpg Zirruswolken werfen keine Schatten 2002 Germany audio/Bosshard-2002-Zyrruswolken.wav 188 Rolf Julius 1939 3850 images/works/Julius-2002-Warum.jpg warum grau, warum gelb, warum grun 2002 Germany audio/Julius-2002-Warum.wav 29 Christina Kubisch 1948 3853 images/works/Kubisch-2002-Fumf.jpg Funf Felder 2002 Germany audio/Kubisch-2002-Fumf_Felder.wav 209 Andreas Oldorp 1959 3909 images/works/Oldorp-2002-Trost.jpg Trost für Anfänger An vier Positionen im St.-Johanner-Markt-Raum werden bei Steckdosen Metallkonsolen an die Wand montiert. Sie halten Heizspiralen, die 4 Liter-Dreihalskolben aufheizen. Die Glühdrähte bringen das Wasser zum Kochen, und der Dampf wird über Silikonschlauch-Leitungen zu je zwei Orgelpfeifen geführt. Das auf dem Weg kondensierte zurückfließende Wasser bildet am Verteilerstutzen ein Wasserventil, das den Weg des Dampfes regelt und die Dynamik der Ansprache steuert. Die Installation benötigt für einen Ausstellungstag ca. 3 Liter Leitungswasser pro Kolben. Sie sollen täglich frisch befüllt und gereinigt werden, um Kalkablagerungen zu vermeiden. Die speziell für diese Installation gefertigten Pfeifen setzen auch geringe Druckschwankungen in vielfältig verschiedene Klänge um. Bei der Intonation wird ein im Raum gleichmäßig verteilter Chorklang angestrebt. (aus dem Konzept) Henning Christiansen gewidmet 2002 Germany audio/Oldorp-2002-Trost.wav 244 Martin Riches 1953 3711 images/works/Riches-1990-TalkingMachine.jpg The Talking Machine While I was voicing the pipes for a mechanical organ I noticed that when they were playing incorrectly they would sometimes make sounds quite similar to human speech. I wondered if it would be possible to make special speaking pipes and whether it would be possible to make them talk. The result was the Talking Machine — an acoustic speech synthesizer.The speech sounds are produced using a flow of air and resonators just as in natural speech.The machine has 32 pipes, each one a simplified version of the human vocal tract. They reproduce the spaces which are formed in the mouth, nose and throat when we speak.The pipes are built according to measurements of X-Ray photographs taken of a person speaking. In other words, the E-pipe reproduces the narrow shape of the human mouth saying E, the OO- pipe has something like the small round OO-shaped lips and so on. S, F, Sh and similar sounds are produced by special whistles which reproduce the shapes made by the lips, tongue and teeth. The valves which control the flow of air are operated by a computer. The machine is being taught to speak English — about 400 words so far — and a few words in other languages. For example, in Japanese it can speak a few polite phrases and can count to 100. It also recites concrete poems, for example, Canzone di Maggio by Giacomo Balla. A longer version of this text with references and acknowledgements was first published in the Journal Experimental Musical Instruments , September 1998. Accessed 16.05.2008 from 32 voice pipes, 4 wind chests, blower and steel frame, 230 cm high 1989 Germany audio/Riches-1989-Talking_Machine.wav 244 Martin Riches 1953 3821 images/works/Riches-2002-Interactive.jpg Interactive Field 2002 Germany audio/Riches-1999-Interactive_Field.wav 36 Steve Roden 1964 3826 images/works/Roden-2002-Moonfield.jpg Moon Field Glass bottle, speakers, 4 channels, 2002 Germany audio/Roden_2002-MoonField.wav 217 Erwin Stache 1960 3827 images/works/Stache-2002-Trans_formation.jpg trans Formation 2002 Germany audio/Stache-2002-Transformation.wav 172 Miki Yui 1971 3404 images/works/Yui-2002-ever.jpg ever a chair and an open window close eyes and be still for one moment sounds from distance melt together with the closer sounds small sounds, triggering our personal memories inside together with the sounds from environment, it weaves a fine acoustic textile around us fragments of sounds are ever to be connected within ourselves to become a melody Along with the installation is a white sketchbook inwhich visitors can leave their experience in the installation. _ my previous work wanderland and this ever are the Twins in the contrary settings. From observing the drawings and texts left bythe visitors, I realized similar reactions in both installations. This shows the close connection between our memories and acoustic perception. Accessed 25.02.2008 from - 2002 Germany audio/Yui-2002-Ever.wav 160 Walter Ruttman 1887 2943 images/spacer.jpg Weekend Weekend is a 11-minute long sound montage describing an escape to the countryside; from the moment the train leaves the city until the whispering lovers are separated by the crowd of passengers. Speech fragments and silence are woven into a poem. This radio montage, being one of the first of its kind, naturally made a huge impact on radio. Ruttmann incorporated principles of the avante-garde film, using the possibilities of sound film perfection in the cutting and mixing process. Accessed 05.01.2008 from Optical Sound Film 1930 Germany audio/Ruttmann-weekend.wav 269 J. Milo Taylor 1972 4114 images/works/Dissolving_Ghost_Piano-011.jpg Dissolving Ghost Piano The reverberant exhibition space and the Steinway piano present within it suggested to me something I had long wanted to try - a variation on Alvin Lucier's "I am Sitting in a Room". An improvised section of extended playing was recorded, and over a period of a hour iteratively replayed back into the room. Gradually the original sounds 'dissolved' and blended with the resonant frequencies of the space creating a bell-like chiming atmosphere played back into the room during the duration of the exhibition. The windows were left open allowing the sound of the local church bells into the gallery environment, the final images of this sequence link to another work I presented at the same time - both are explorations of open systems. This installation piece was inspired by Alvin Lucier’s ‘I am Sitting in a Room’ and created during my recent residency at the Kunstlerhaus Schloand#946; Balmoral, Bad Ems, Germany. In the initial proposal for the residency, an electroacoustic work was outlined, based upon the transformation of water sounds. Upon arrival in Bad Ems, it was clear that there were neither facilities for either the development, or presentation of such a work. Each room had high ceilings and a highly reverberant acoustic. I found this bell-like resonance interesting, especially considered in the context of the broader soundscape of Bad Ems, dominated by the sound of the church bells that regularly echoed throughout the valley. A short improvisation was recorded on a Steinway Grand, the recording of which was played back, and iteratively re-recorded, following Lucier’s method, creating an hour-long looped installation – a dissolving ghost piano. 2008 Germany audio/Taylor-2008-Piano.wav 269 J. Milo Taylor 1972 4134 images/spacer.jpg KVO Between 2002-2004 I made a series of visits to an artist-run space in the old industrial area of Schöneweide, East Berlin where I presented a number of sound installations and performances. This small extract features Kawaii and Leo Konigsberg 2004 Germany audio/Taylor-2005-KVO.wav video/Taylor-xxxx-TroFilm001.mpg 269 J. Milo Taylor 1972 4129 images/spacer.jpg Material Investigation #7 A short extract from a 20 minute site-specific performance piece. The work was commissioned for an exhibition in an abandoned ice house in Kreuzberg, Berlin. Sound sources include manipulations of ice, vinyl sine wave test tones, the artist’s voice, and custom-made instruments. 2006 Germany audio/Taylor-2007-Material.wav 269 J. Milo Taylor 1972 4115 images/works/JMT-Waterbugs-007.jpg Waterbugs An exploration of Chaldni patterns, resonant spaces, the exhibition space, and the materiality of water. Small speakers were placed inside these luminescent plastic bins, a thin transparent membrane was stretched over them, and water placed upon this. Lights installed inside the bins projected images of the trembling water onto the ceiling of the gallery. This was another installation made in response to the Kunstlerhaus Balmoral residency, and was intended as a playful spatial work closely connected to the acoustic properties of the gallery, and the broader cultural and historical context. Throughout the 19th century, the town of Bad Ems was a glamorous spa town resort regularly visited by aristocrats, artists and writers; since that time the town has faded, but is still well known for its natural springs and pure mineral water. Many recordings of water sounds were made during my month’s stay, but, for the reasons outlined above, were rejected as suitable material for an artwork. The final work presented was a sound and light installation that used Chladni phenomena to demonstrate the effect of low frequency sound upon the material most closely associated with the local context, namely water. Small speakers and LED lights were installed within plastic containers, and a thin plastic membrane stretched across their tops, upon which, water was placed. The particular location of each of the containers within the room was important in creating small variations in resonance. The extract presented here is a short recording made while moving around the space, demonstrating these micro-variations in timbre experienced by the audience as they explored the installation. 2008 Germany audio/Taylor-2008-Waterbugs.wav 269 J. Milo Taylor 1972 4116 images/works/JMT-Skype_Voices_Remodel-01.jpg skype. voices LISTENING. 2008 Remodel A month long residency provides time for reflection, creation and the opportunity to respond creatively to the environment in which one finds oneself. This plaster sculpture is the work of a previous resident artist of Bad Ems. It contained a small speaker, and it struck me as soon as I arrived at the Schloss. A month away from home can also be hard for the put a strain on relationships. This piece derives from an attempted Skype conversation, where interpersonal interactions were rendered meaningless by the very technology supposed to enable such exchanges. There is very little editing in this work, it is a simple recording of the attempted conversation. The peice was played back through the mono speaker and looped for the duration of the exhibition. 2008 Germany audio/Taylor-2008-Skype_Glitch.wav 5 Hildegard Westerkamp 1946 4252 images/spacer.jpg Für Dich-For You commissioned by the Zentrum für Kunst und Medien, ZKM, Germany. Premiere: Febr. 11, 2005, ZKM, Karlsruhe, Germany. Für Dich – For You is based on the poem Liebes-Lied by Rainer Maria Rilke and its newest translation into English, Love Song, by Canadian poet and writer Norbert Ruebsaat. The compositional process of Für Dich – For You was an intense encounter with Rilke’s words, not unlike an encounter with the experience of love itself and all its unsettling, complex emotional states. Love, like birth or death, tears us out of the routine of daily life, wakes us up, alerts us to what is, creates moments of truth, often stirs us to make changes, to take new risks. The poem speaks of one person’s love to another, but also and perhaps more importantly about love as an inner state towards life and the world as a whole. In the face of ecological disasters and global economic imbalances, as well as widespread practices of terror, war, and hate, it suddenly seemed to me to be a matter of survival to learn more about love and about how to act from the heart. Composing this piece was part of this process of learning. On another level the composition explores a sense of place and belonging, of home and love. To underscore this context, the sound sources for the piece consist of specific sounds from two places that have created a sense of belonging in me: North Germany where I was born and grew up and Vancouver and the westcoast of Canada where I have lived for over thirty years as an immigrant. These sounds form the sonic/musical language of the piece together with the recorded voices (male and female) of people close to me, speaking the poem, both in German and English. To open oneself to one’s original language and culture again, after having lived as an immigrant in the country of one’s choice for a long time, is like opening oneself to an almost forgotten deep love and connection to that past place. At the same time, one has lived and functioned in the country of one’s choice for many years, one has established one’s very own home, one’s family, one feels at home here, it is the right place to be. It also is a place of belonging and love. Thus, the piece is an exploration of the heart, an exploration of where the heart is located in connection to culture, language and people. In a globalized world where millions of us are on the move, whether as refugees, immigrants or just as travelers, this has emerged as a wide-spread and relevant theme, as we are all in some way searching for home and connectedness. All sounds and voices were recorded by myself. Many thanks to all who spent valuable hours with me exploring and reading the poem. Readers of the poem are: Wendelin Bartley, Susan Benson, Anne Bourne, Louie Ettling, Peter Grant, Andra McCartney, Norbert Ruebsaat, Sonja Ruebsaat, Susanna Ruebsaat, R. Murray Schafer, Agnes Westerkamp and Hildegard Westerkamp. Für Dich – For You was commissioned by the ZKM, Karlsruhe, Germany. The composition was started during a residency at the ZKM, and was continued and completed in the Sonic Studio at Simon Fraser University and in the composer’s own studio in Vancouver. Hildegard Westerkamp January, 2005 Accessed 12.06.2009 from For eight digital soundtracks 2005 Germany audio/Westerkamp-2005-furdich.wav 217 Erwin Stache 1960 3471 images/spacer.jpg 24,9 KILO OHM - 2003 Germany video/Stache-xxxx-24_Ohm.mpg 217 Erwin Stache 1960 3485 images/spacer.jpg SCHERENGITTERORCHESTER UND FREUNDE 2004 Germany video/Stache-xxxx-Scherengitter.mpg 217 Erwin Stache 1960 3486 images/spacer.jpg WASCHMASCHINENSCHEIBEN-ORCHESTER 2006 Germany video/Stache-xxxx-WASCHMASCHINENSCHEIBEN.mpg 217 Erwin Stache 1960 3487 images/spacer.jpg 83,4 KILO OHM 2007 Germany video/Stache-xxxx-83ohm.mpg 235 Stephan von Huene 1932 3772 images/spacer.jpg Kaleidophonic Dog 1962 Germany video/von_Huene-1962-dog.mpg 235 Stephan von Huene 1932 3774 images/spacer.jpg Totem Tone 1969 Germany video/von_Huene-1969-totem.mpg 235 Stephan von Huene 1932 3777 images/spacer.jpg Dancing on Tables 1987 Germany video/von_Huene-1987-tischtaenzer.mpg 235 Stephan von Huene 1932 3778 images/spacer.jpg Lexichaos 1990 Germany video/von_Huene-1990-lexichaos.mpg 235 Stephan von Huene 1932 3780 images/spacer.jpg The Blue Books 1997 Germany video/von_Huene-1997-blaue_buecher.mpg 235 Stephan von Huene 1932 3776 images/spacer.jpg The New Lorelei 1997 Germany video/von_Huene-1997-loreley.mpg 209 Andreas Oldorp 1959 3882 images/works/Oldorp-2001-Gossip.jpg gossip Gossip ist ein Konzert. Von Wasserdampf betrieben entwickeln orgelpfeifenähnliche Klangquellen ihr virtuoses Miteinander. Dabei ist der musikalische Verlauf nur sehr bedingt vorhersehbar. Feuer, verbrennendes Methan, erhitzt Wasser in gläsernen Dreihalskolben. Solche Energiezentren sind über den Raum verteilt die Ausgangspunkte von dampfführenden Schlauchleitungen, in denen kondensiertes Wasser Ventile bildet und den Dampfdruck immer wieder andere Richtungen nehmen läßt, um die Pfeifen in lebendig vielfältiger Weise anzublasen. Der Klang der speziell für diese Spielart entwickelten Pfeifen kann feinste Druckunterschiede abbilden. Raumtemperatur, Luftzüge, die abnehmenden Wassermengen in den Kolben, ihr Verrußen, die träger werdenden Wasserventile in den Schläuchen: all diese Faktoren nehmen Einfluß auf die Klangerzeugung, ihre Komplexität und Dynamik. Dementsprechend gibt eine Partitur einem Musiker Anweisung für lenkende Eingriffe in den Prozess. (aus der Pressemitteilung) Assistenz: Jürgen Heer, Peter Afken, Philip Jacobs 2001 Germany video/Oldorp-2001-gossip.mpg 160 Walter Ruttman 1887 3186 images/spacer.jpg Lichtspiel: Opus II - 1923 Germany video/Ruttmann-1921_Lichtspiel.mpg 227 Llorenc Barber 1948 3926 images/spacer.jpg Performance 1996 Germany video/Barber-1996-Performance.mpg 269 J. Milo Taylor 1972 4146 images/spacer.jpg Junk Music 2003 Germany video/Taylor-xxxx-Junk_Music.mpg 10 Max Neuhaus 1939 4543 images/works/Neuhaus-2007-Stommeln.jpg Time Piece Stommeln 2007 Germany video/Neuhaus-200x-Stommeln.mp4 116 Brian Eno 1948 2881 images/spacer.jpg generative roomscape 1 Bis vor 100 Jahren war jedes musikalisches Ereignis einmalig: Musik war flüchtig und unwiederholbar, sogar die Notation konnte nicht garantieren, daß zwei Aufführungen gleich gerieten. Dann gab es Grammofonaufnahmen, die eine bestimmte Aufführung festhielten, so daß man sie wieder und wieder identisch spielen kann. Generative Music dagegen ist eine Verbindung aus beidem und damit etwas Neues: Wie Live-Musik ist sie immer unterschiedlich und wie Musikkonserven ist sie nicht an Zeit und Ort einer Aufführung gebunden. Sie wird mit dem Computerprogramm ›Koan‹ erzeugt. ›Koan‹ funktioniert über die Soundkarte im Computer. Eine Soundkarte ist ein kleiner Synthesizer, der als optionaler Zusatz zum Computer erhältlich ist. Der Computer gibt dieser Soundkarte Anweisungen und sagt ihr, welche Geräusche sie produzieren soll und welche Klangmuster. ›Koan‹ ist eine hochentwickelte Möglichkeit das zu tun. Sie erlaubt dem Komponisten die Steuerung von ungefähr 150 musikalischen Parametern, wie Klangfarbe, Hüllkurve, Skala, Harmonie, Rhythmus, Tempo, Tonumfang. Die meisten dieser Instruktionen für ›Koan‹ sind probabilistisch – so daß man statt zu befehlen: "Ma !" (was ein Sequenzer als Eingabe benötigt), sagt: "Wähle Dir aus diesem Spielraum von Möglichkeiten etwas aus." Brian Eno - 1996 Germany 10 Max Neuhaus 1939 2886 images/works/Neuhaus-1996-evoking.gif ›evoking the aural‹ – zeichnungen Entwurf für eine Klangarbeit für den Eingangsbereich des Hamburger Bahnhofs, Museum für Gegenwart, Berlin. In unserem täglichen Leben arbeiten unsere Augen und Ohren eng verbunden als Team zusammen und bilden unsere Wahrnehmung davon, wo wir sind – unser Raumempfinden. Traditionelle Vertreter der bildenden Kunst haben diese Wahrnehmung über den Gesichtssinn beeinflußt, indem sie mit Form und Farbe gestalten. Ich dagegen arbeite mit unserem Gehörsinn. Max Neuhaus Von der Prämisse ausgehend, daß man die Wahrnehmung eines Raumes allein mit Klang formen kann, hat Neuhaus eine Reihe von Klangarbeiten geschaffen, die er Place nennt (vgl. Max Neuhaus. Sound Works. Volume III, Place; Ostfildern 1994). In vielen dieser Arbeiten benutzt er Klänge, um aus Räumen, die scheinbar physisch identisch sind, kontrastierende Orte zu gestalten. Die beiden Eingangsbereiche des Hamburger Bahnhofs eröffnen diese Möglichkeit, und die vorgeschlagene Arbeit wird die genannte Form fortsetzen. Diese Form und ihre Widersprüche werden das eine Element dieser Klangarbeit bilden. Das andere werden die Klänge selbst sein. Der wesentliche Kern dessen, was er bei einer Place-Arbeit macht, liegt in der Natur der Klänge, die Neuhaus in einen gegebenen Kontext einfŸhrt. Ihr Verhalten zum Erwarteten und zum inhärenten Klangcharakter des spezifischen Installationsortes generiert den neuen Raum der Arbeit. Neuhaus realisiert eine Arbeit, indem er schrittweise einzelne Schichten zu einer Klangtextur aufbaut, nach Gehör, und an den Orten selbst, nachdem die Klangquellen dort installiert wurden. Prinzipiell arbeitet Neuhaus sehr subtil; ein Passant hat die Freiheit, das Werk wahrzunehmen, ohne daß es sich ihm aufdrängt. - 1996 Germany 77 Hans Peter Kuhn 1952 2888 images/works/Kuhn-1996-Whosafraid.jpg Who’s Afraid of Anything With Junko Wada. Das Stück hat drei Teile gleicher Länge. Das Bühnenbild ist sehr schlicht und besteht aus einem weißen Quadrat von 5 x 5 Metern auf dem Boden und einem zweiten weißen Quadrat von ebenfalls 5 x 5 Metern an der Rückseite. Für jeden Teil gibt es ein eigenes Kostüm: Das erste ist rot, das zweite gelb und das dritte blau. Die Bühne ist so stark wie möglich mit weißem Licht ausgeleuchtet. Die Musik wird von vier Lautsprechern aus den vier Ecken des Zuschauerraumes wiedergegeben - 1996 Germany 19 Janet Cardiff and George Bures Miller 1957 2889 images/works/Cardiff-2005-opera.jpg Opera for a small room R. Dennehy lived most of his life in Salmon Arm, British Columbia, Canada. Not a lot is known about him, but he is listed in the telephone book as Royal Dennehy. One thing we do know is that he once collected opera records. He was infatuated with great tenors. We are aware of these facts because we bought all his records (which were signed at the top) at the second-hand store in Salmon Arm. There were approximately one hundred records. We are interested in the extreme cultural juxtaposition between opera and the smallwestern town in which R. Dennehy lived. What did he think about while listening to these records, recorded in cities half-way around the world? Was he a trained singer? Did he want to have a career in opera? Did he lose a lover and find solace in the music? Did he dream of traveling to faraway opera houses one day? We imagined him singing along to the records, creating his own opera, displaced in time and space. So we made a small room for the opera of his life. There are twenty-four antique loudspeakers out of which come songs, sounds, arias, and occasional pop tunes. There are almost two thousand records stacked around the room and eight record players, which turn on and off robotically syncing with the soundtrack. Construktion: Kyle Miller Song: Roadkill Crow Composition and Voice: George Bures Miller Guitar, Percussion, Sound engineering: Titus Maderlechner Bass guitar, Organ, Orchestration: Tilman Ritter With kind authorization by the artists and the Galery Barbara Weiss, Berlin and the Luhring Augustine Gallery, New York. Accessed 31.05.2007 from Mixed-Media-Installation, Sound and Light Synchronisation; Duration: 20?min (Loop). 2005 Germany 39 Carl Micheal von Hausswolff 1956 2890 images/works/Von_Hausswolff-2005-freq.jpg freq_out 4 The acoustical interplay between sound and space is more than a physical fact. As the legacy of sound art demonstrates, such interplay is rich in detail, laced with a potential to activate perception, redraw architectural borders, fashion forms of inhabitation out of the transient sparks of sonority, create new relations in and amongst the crowd. In this regard, “sound” and “space” are no longer separate entities or concepts, but a synthesized totality whose definition is specific to each location, each event, each instant of their interplay. A radical ecology, the sound-space interplay is an organism spawning dramas of perception and interaction, and what it means to be situated. Bringing together artists, composers, architects, producers, and musicians, the freq_out project is built upon such dramas, seeking to invade architecture with sonic imagination. Curated by Carl Michael von Hausswolff, a Swedish artist working for many years within the visual and sonic arts, freq_out over the last 3 years has appeared in Copenhagen, Oslo, Paris, and now Berlin. Structured as a collaborative sound environment in which authorship is determined by group effort, each of the thirteen participants is assigned an individual “zone” within the given space, determined by location or speaker position, and a specific range of frequency with which to produce a sound piece. Working in the space, discovering its features or exploring sonic material, sound pieces are developed through this social framework, according to intuitive notions of musicality, narrative, sonicity, structure, fantasy…: collaboration occurs as an embodied response to what already exists, either as spatial textures or the given currents of each of the participant’s work. That is, decisions, discussion, and arguments occur primarily through and by sound. As a final presentation each zone is equipped with its own loudspeaker system and CD player from which the individual pieces are amplified. Such a strategy offers an element of autonomy to each participant, while creating the possibility that any interference between works will only function to heighten the sonic experience. That is to say, the sound environment partially functions through interference by creating overlaps, overtones, intersections and deflections across the frequencies and between individual pieces, according to a visitor’s movements through the space, and the durational evolution of the sounds. While currents in sound art display often struggle to shield individual works from each other, to lessen the disturbance or interference between, freq_out intentionally seeks interference: it potentially suggests models for the presentation of sound art (and the construction of sound-spaces) based on incorporating the collective intermingling sound inevitably presents as opposed to ignoring or shutting it out. As Hausswolff proposes, freq_out is based on a notion of collectivity that doesn’t overshadow the individual. Thus, each participant is implicated into the greater whole, not so much through democratic imperative in which majority always rules, but through nurturing a field of cooperation. For each participant extends themselves beyond their individual practice as a way to meet the others in the space, and importantly through sound. The exhibition space not only functions as an architectural acoustical partner, but also as a meeting point for cooperation – in this sense, the sound-space interplay not only draws out other conditions for experiencing place, but also enmeshes individual perception within the folds of a greater event. For freq_out is plurality raised to the X-degree, splintering space, ricocheting through the mind, dislocating the individual body and planting new arrangements to the ecology of temporal experience. Though this is not to say that what results is pure utopia, in which each participant or sound is represented fully, for certainly in the resounding frequencies intermingling and intermeshing, beating against walls, surprising the ears from every perspective, any sense of musicality or cooperation may bleed into cacophony (as the disgruntled underbelly to any form of interaction). Maybe this in the end provides a way to think through what it means to cooperate collaboratively through sonic experimentation, to meet through sound — that the framework of this cultural action is just as much about conflict and the potential of noise, as it is about resolution. [Brandon LaBelle] with: Maia Urstad, Brandon LaBelle, Tommi Grönlund/Petteri Nisumem, Finnbogi Pétursson, Franz Pomassl, Benny Jonas Nilsen, Jacob Kirkegaard, Mike Harding, Kent Tankred, Jim G. Thirlwell, PerMagnus Lindborg, Jana Winderen; Kurator: Carl Michael von Hausswolff. Photo © P. Nisunen * Earlier sessions: Copenhagen – June 2003 (Disturbances Festival): Oslo – October 2004 (Ultima Festival): Paris – October 2005 (Nuit Blanche) Accessed 31.05.2007 from - 2005 Germany 29 Christina Kubisch 1948 2891 images/works/Kubisch-2006-RoyalTree.jpg The Royal Tree On the Schleusenbrücke at Schlossplatz — the bridge below the former national monument to Kaiser Wilhelm, opposite the former GDR State Council building and across from the former Palast der Republik — stands a large oak. It is the only old tree in the vicinity. Fastened up among its branches and leaves are fourteen bronze-coloured tweeters, a shining ornament in the greenery. On the roof of a nearby orange-coloured construction container are 14 solar panels whose surfaces are black. The electric energy generated by each of the solar cells is sent to one of the electronic control modules, each of which in turn is connected to one of the loudspeakers. The modules generate sounds that vary according to the lights intensity and are emitted by the tweeters in the tree. The sounds are in harmony with natures temporal rhythms, dependent upon the hour of day or night, upon the weather. Sometimes they sound like birds, sometimes like insects, sometimes like cell phones. Light becomes audible; nature marries with technology. It is certainly possible that over the course of time, real birds and their electronic partners will enter into dialogue. Located on a square still charged with history, the playful composition, reliant on natures moods, offers a counterpoint to the ponderousness of monumental edifices and Prussian power. An artwork that needs no pedestal, doesn t weigh tons, and is as fragile as the equilibrium of nature itself. Accessed 31.05.2007 from Duration: permanent; Technical director: Ing. Manfred Fox, Berlin; 14 tweeters, 14 solar panels, 14 electronic control modules, electric cable. 2006 Germany 89 Tilman Kuntzel 1959 2892 images/works/Kuntzel-2006-maintenance.jpg Maintenance Measures for the SoundUnit Fan and Soundwall Our collective musée auditive, which archives not only pictures but also sounds, no doubt contains the voice of the radio reporter who was carried away with enthusiasm as he announced the German teams winning goal at the 1954 football World Cup in Bern. That long drawn out TooorTooorTooor proclaimed more than just a goal. It stood for the unanticipated resurrection of a nation that was unconditionally defeated in World War II — defeated not only by the Allied military victory, but also by its own complete moral bankruptcy. As sociologists have often enough pointed out, sporting contests and football games are ersatz wars. In this respect, Bern 1954 was a historically significant event, which found its valid acoustic symbol in the German radio reporters bellowing Tor . Tilman Küntzels artistic project for sonambiente 2006 works with the agonistic energies of the current football World Cup. In Klangwand, he installs 64 footballs like trophies; they are sculptural metonyms that represent all the World Cup games. One hears collaged radio reports from each individual ball in the languages of the respective opposing teams. When the voices are woven into a synchronous, energetic sound tapestry at the end of the championship, both the aggressive battles and the peaceful moments of coexistence will be stored within. Küntzel s installation, which ties auditive, plastic and performative motifs together, is characteristic of the artist s work, which does not permit itself to be restricted by limitations of genre. The contemplative first part of the Küntzel project is complemented by an interactive second part. The disposition of elements here also references the forces unleased by the football event. Football is critically assessed without being directly mirrored. Küntzel s Sleeping Tube offers the visitor, psychically stressed from the competitive battles, a temporary avenue of retreat that characterises the competitions temperature and temperament at once. Küntzel s Blood Pressure Measurement Station refers to the emotional burden the fan is exposed to during the games. And Küntzel s Defibrillator , a mobile device for treatment of acute heart attacks, brings even more strongly to mind the worst case scenario of a fan s possible breakdown. In his project description, the artist calls the disposition of elements in the second part of the installation Maintenance Measures for the SoundUnit Fan. His gentle irony in labelling the fan as a SoundUnit makes his artistic strategy clear. The sounds of the fan s blood pressure, channelled by microphone into the soundspace, and the Defibrillator s spoken instructions for an emergency patient combine with excited play-by-plays of the games to form an impressive acoustic collage that spotlights the passions of both players and spectators. With his soundspace , Tilman Küntzel manages quite a feat: to synaesthetically illustrate and intensify the thrill and agony of football. Accessed 31.05.2007 from sleeping tube with light and ventilation, teletext and fresh water; sound wall with 64 piezo-loudspeakers, 64 player devices; defibrillator with language chip; blood pressure measurement devices with contact microphones. 2006 Germany 78 Bernhard Leitner 1938 2893 images/works/Leitner-2006-kaskade.jpg Kaskade [project 2] In the open, kidney-shaped interior of the 12storey stairwell, six parabolic bowls are hung at angles. From the parabolic bowls, narrowly concentrated sound beams are projected downward onto diagonally hung surfaces, and from these reflected to the steps and the walls of the staircase. A stepwise descent of sound turns into an acoustic cascade. From the central cascade, a circulating auditory space forms, made up of sound reflections and visual-haptic sound manifestations. One can fathom its depths as one climbs the entire length of the stairs. Accessed 31.05.2007 from 6 parabolic bowls, 6 reflectors, CD player, amplifiers. 2006 Germany 35 Scanner 1964 2895 images/works/rimbaud-2006-52spaces.jpg 52 Spaces 2002–2006 52 Spaces uses sounds of the city of Rome and elements of The Eclipse (1962) to create a soundtrack of an image of a city suspended in time, anonymous and surreal. A defining cinematic figure of the 1960s and 1970s with his movies Blowup (1966) and Zabriskie Point (1970), Antonioni’s films explore the tiny details of our lives. Using L’Eclisse as its inspirational focal point, Scanner attempts to reassemble the memory of sound and locations in the film as well as his personal experience of Rome, where the work is set. The result is a distilled narrative of seductive conversation, musical fragments and city soundscapes. Selecting a series of 52 framed images from the closing moments of the film slowed down to a kind of mnemonic slide show and accompanied by audio culled from the movie processed with twinkling elements from the soundtrack’s original melody, Scanner conveys a complex and mysterious chronicle, offering up a space for contemplation and reflection as the soundtrack weaves an imaginary narrative. L’Eclisse charts the beginning of the end, evoking a sense of loss, suggesting that modern industrial society can obliterate the emotions between people. Essentially about the relationship between a man and a woman, the emptiness of their affections mirrored in the iconic metropolis, Antonioni’s classic film is reflected back to the audience in harmonics, hushed voices and sound effects. Through this performance, Scanner reconstructs an understanding of the characters, how they commune with their physical environment and how sound is crucial to our understanding of their story. Capturing, manipulating and redirecting these moments back into the public consciousness, 52 Spaces establishes an archaeology of personal experiences and missed connections, assembling a momentary forgotten past within our digital future. [Robin Rimbaud] Accessed 31.05.2007 from - 2006 Germany 152 James Tenney 1934 2913 images/spacer.jpg SongnDance for Harry Partch Diamond Marimba, Adapted Viola, strings, and percussion 1999 Germany 154 Jean Tinguely 1925 2915 images/works/Tinguely-1959-statik.jpg Für Statik - 1959 Germany 154 Jean Tinguely 1925 2922 images/works/Tinguely-1979-klamauk.jpg Klamauk - 1979 Germany 154 Jean Tinguely 1925 2924 images/works/Tinguely-1970-metaharmie4.jpg Méta Harmonie IV - Fatamorgana - 1970 Germany 164 Gordon Monahan 1956 3047 images/works/Monahan-1990-Aquaeolian-wpprtal2.jpeg Aquaeolian Music Room 35 meter-long piano wires are anchored into the Wupper River in centre of Wuppertal, Germany. The other ends of the wires are attached to aluminum sheets that are part of the walls of an aluminum and plexiglas cabin constructed beside the river. The flowing of water over the wires creates aquaeolian tones on the strings, which are acoustically amplified by contact to the aluminum sheets. Passersby can enter the cabin to listen to the aquaeolian tones. Temporary installation lasting 3 weeks. ©Gordon Monahan 1991. Accessed 02.07.2007 from - 1991 Germany 164 Gordon Monahan 1956 3049 images/works/Monahan-1993-glowpickle.jpg The Glowing Pickle A unique social hang-out, the Glowing Pickle was situated in a garage at Brunnenstr. 192, Berlin, and open on Thursday nights during 1993-95. A collaboration between Laura Kikauka, Gordon Monahan, and Bastiaan Maris. It was conceived as a centre for the collection and re-distribution of DDR scientific and industrial equipment from local East Berlin dumpster containers. The name of The Glowing Pickle comes from the action of sticking two wires into an ordinary pickle and plugging it into 220 volts. The pickle then burns and glows like a light bulb. The Glowing Pickle salvaged many unusual pieces of equipment and documents from the former East-Bloc scientific research establishment. The equipment that still functioned was set up in the Pickle and interfaced with other equipment so that the management and public could perform hands-on experiments. Some examples of this equipment include a 1969 Czechoslovakian analog computer (the MEDA 41-TC), a Tesla 14-track tape recorder, pieces of an electronic music studio, 2 paper shredders, some ion guns, a wooden computer , several electronic counting machines and computers, Polish voltmeters, high voltage generators, mass spectrometers, a massage machine, and numerous x-y plotters. The total amount of equipment collected over the 3 year period amounted to approximately 20 tons. The managers of The Glowing Pickle integrated the management styles of electronic surplus bargain stores prominent in post-war United States, with entertaining rituals of applied science using the available equipment. Every Thursday night at midnight, there was a Midnite Madness auction. Several objects, such as holograms, computer boards, hand-made glass and ceramic chemistry vessels, or medical probes, were selected and auctioned in one round to the highest bidder. The winning buyer always received a free tie, shredded while-U-wear-it, in the paper shredder. The winning buyer (as well as everyone else who buys something at the Glowing Pickle) receives a free membership which entitles them to discounts on future purchases, and one Glowing Pickle Dollar (GPD) for every Deutschmark spent (for instance, for a purchase of DM 20, the consumer receives GPD 20). The consumer can then save their Glowing Pickle Dollars to buy certain items from the store, available for perusal on the Glowing Pickle Dollar Shelf . While the membership cards and Glowing Pickle Dollars function well as marketing tools, The Glowing Pickle aesthetically manipulates the purchasing process in a way that satirizes normally serious consumer procedures. In other words, prices are subject to change according to our mood. photo by Larry Seven Accessed 02.07.2007 from - 1993 Germany 164 Gordon Monahan 1956 3050 images/works/Monahan-1994-MMMTRX.jpeg Multiple Machine Matrix The Multiple Machine Matrix (also entitled Sounds and the Machines that Make Them) is a multi-functional performance and installation environment of automated machine sculptures built from electronic surplus and trash. This network of computer-controlled kinetic devices is capable of moving complex layers of acoustically-produced sound in physical space. MIDI signals, which normally provide control of an electronic music studio, control the movement of mechanical/robotic devices such as voltage modulated steel sheets of various sizes, pulse-controlled bi-directional metal sheet Doppler Spinners, and percussion-activated furniture. A remote-controlled robot enters this environment and pretends to learn how to perform and behave on a public stage. Accessed 02.07.2007 from - 1994 Germany 164 Gordon Monahan 1956 3052 images/works/Monahan-1999-fuzzy_love.jpeg Fuzzy Love The trash art ensemble Fuzzy Love began to develop their celebration of the trivial aspects of popular culture years before they even had a name for the band. At the former Berlin underground club Schmalzwald (a play on the German word Schwarzwald or Black Forest and, indeed, a forest of kitsch designed by Canadian artist Laura Kikauka) the trio presented live irritainment usually consisting of karaoke vocal accompaniments to Gordon Monahan playing his Hammond-style organ. When master chef and ersatz hypnotist Gordon W. began to regularly beat the bongos and tickle the theremin, he, Monahan (known affectionately as El Gordo), and singer JJ Jones realized they had unwittingly created a band. Fuzzy Love uses the medium of music to explore the tension between the ritualistic repetitions of the pop culture industry, with its inherent icon-worshipping, and the immediacy of an over-the-top live performance. The result might be termed De-contructionist Anti-Pop . With organ, percussion and vocals, evenly spiced by the electronic mezzo-soprano of the theremin, the trio maximizes its visual elements in an orgy of strange lighting fixtures, polynesian figureheads and retro costumes. The playful intellectual complexity of the band s message gives a refreshing impetus to the audience, which generally dances late into the night overcome by a frenzy of nostalgia and passion, a phenomenon the band refers to as lampshade-ism. Fuzzy Love has played at the Venice Biennale, The Maison des Arts National, Paris, The Festival of Vision, Hong Kong, the Haus der Kunst, Munich, and the Art Gallery of Ontario, Toronto, amongst other notable venues. Their new album, Psycho Romantic Mood Swing, was released in 2004. Accessed 02.07.2007 from - 1999 Germany 164 Gordon Monahan 1956 3053 images/works/Monahan-2000-silicon.jpg Silicon Lagoon A scaled-down version of the Multiple Machine Matrix. 32 small percussion instruments (motorised nutshells, pinball machine solenoids, turkish finger cymbals, automated drums) and 6 amplified piano strings, form an ensemble that is played by predetermined midi sequences. The viewer, standing underneath the suspended instuments, activates the playback of different sequences by pressing keys on a midi keyboard. ©Gordon Monahan 2000 Accessed 02.07.2007 from - 2000 Germany 164 Gordon Monahan 1956 3054 images/works/Monahan-2002-Etheric_Theremin2.jpg Etheric Theremin Harmonic A midi-interactive Theremin is used as a device to control the speed of electric motors that resonate suspended thunder sheets (metal sheets). As the motors spin at different speeds, controlled by a viewers body-capacitance-proximity to the theremin, they induce various harmonic vibrations in the thunder sheets. The sound imagery created by this piece may require the listener to examine the question of opposites and contradictions in sound and musical phenomena. The central conceptual concern is to use primitive sounds (motors vibrating metal) to imitate technological sounds (e.g. electronic samplers imitating natural sounds). The technological sounds (sound samples) are not present in the installation but their acoustic images do reside in the perceptual memory of the modern listener. The Theremin is an historical electronic instrument that represents mystery (the tones are produced through the ether without physical contact to the instrument) and old-school analog kitsch, as it was used on the soundtracks of many sci-fi movies of the 1950 s. This piece imitates an audio system. Since the sounds are produced by computer control of a mechanical system, it is computer music, but there are no loudspeakers, therefore it cannot be an audio system. It merely resembles audio through imitation. ©Gordon Monahan 2002 Accessed 02.07.2007 from - 2002 Germany 164 Gordon Monahan 1956 3057 images/works/Monahan-2005-theremin_rain.jpg Theremin in the Rain Live interaction with the theremin causes a progressive series of Max programs to play the mechanized sound sculptures. Long piano wires are divided into resonant sections that are played by midi-controlled solenoids, and a collection of amplified plates are played by midi-controlled water drops. As the theremin controls the installation electronically, a dancer manipulates the harmonic resonance of a long piano string by pulling a variable speed electric motor along the string, and a DJ mixes in barely-audible recordings to accompany. Vocal monologues, including some quoted texts by Jerry Hunt, are introduced during the performance. The physical parameters of the sound installation are defined by the architectural space of the performance location. The resulting sounds activate the natural resonant frequencies of the space, and therefore the installation is structurally self-reflective in sound and space. This piece is about music, sound in space, storytelling, interactive technology, lo-tech and hi-tech, harmonic wave interference, media representation and manipulation, etc. Accessed 02.07.2007 from - 2005 Germany 243 Yufen Qin 1954 4346 images/works/Qin-2000-Opernbesuch.jpg Opernbesuch Kunststoffmasken, Seide Bambusstaebe Lautsprecher, Kabel CD, CD-Player, Verstaerker vierkanalige Komposition 2000 Germany 243 Yufen Qin 1954 4347 images/works/Qin-1999-DuoGuo.jpg Duo Guo (Zeit vergeht) 4-Kanal-Klanginstallation (Detail) Seide, alte Naehmaschine Stuhl, Tatami-Matten Lautsprecher, Kabel Hard Disk Recorder 1999 Germany 160 Walter Ruttman 1887 3181 images/spacer.jpg Berlin: Die Sinfonie der Großstadt in collaboration with Alberto Cavalcanti - 1927 Germany 160 Walter Ruttman 1887 3182 images/spacer.jpg Lichtspiel: Opus I - 1921 Germany 160 Walter Ruttman 1887 3183 images/spacer.jpg Melodie der Welt - 1929 Germany 160 Walter Ruttman 1887 3184 images/spacer.jpg Triumph of the Will with Leni Riefenstahl - 1934 Germany 160 Walter Ruttman 1887 3187 images/spacer.jpg Lichtspiel: Opus III - 1924 Germany 160 Walter Ruttman 1887 3188 images/spacer.jpg Lichtspiel: Opus IV - 1925 Germany 160 Walter Ruttman 1887 3189 images/spacer.jpg Altgermanische Bauernkultur - 1934 Germany 160 Walter Ruttman 1887 3190 images/spacer.jpg Henkel, ein deutsches Werk in seiner Arbeit - 1938 Germany 160 Walter Ruttman 1887 3191 images/spacer.jpg Waffenkammern Deutschlands - 1940 Germany 160 Walter Ruttman 1887 3192 images/spacer.jpg Deutsche Panzer - 1940 Germany 160 Walter Ruttman 1887 3193 images/spacer.jpg Sieger, Der - 1921 Germany 160 Walter Ruttman 1887 3194 images/spacer.jpg Wunder, Das - 1922 Germany 178 Hanna Hartman 1961 3222 images/works/Hartman-2004-glatteis.jpg aufs glatteis Foto: Henry Mex - 2004 Germany 178 Hanna Hartman 1961 3225 images/spacer.jpg dich tholen - 2007 Germany 178 Hanna Hartman 1961 3231 images/spacer.jpg The Voice of Closed Eyes - 1999 Germany 178 Hanna Hartman 1961 3232 images/spacer.jpg Cikoria Karl -Sczuka -Support -Grant 2000 - 2000 Germany 178 Hanna Hartman 1961 3233 images/spacer.jpg Die Mysterien finden im Hauptbahnhof statt - 2000 Germany 180 Hayley Newman 1969 3253 images/spacer.jpg Occasionally Groovy Occasionally Groovy was a 12-inch record customised to produce sounds from both digital and analogue sources. Made by sticking a matt black template with holes cut out of it to the underside of a clear vinyl record the altered disc was placed upon a raised record deck with a light source comprising of a series of fairy lights beneath it. A light sensor attached to the arm of the record produced a sound as light passing through the record hit the sensor. Sound was also created in the normal manner of needle in groove. These two differing sources were played simultaneously: the sound of the original disco music on the record playing alongside the quickening rhythmic interruption of light hitting the sensor on the arm of the player. Photo: Bam Hühnerkopf Kunst und Teknik, Berlin 1998 Germany 170 Akio Suzuki 1941 3329 images/spacer.jpg unknown - 1987 Germany 170 Akio Suzuki 1941 3331 images/spacer.jpg Hana (Flower) - 1997 Germany 170 Akio Suzuki 1941 3333 images/spacer.jpg Turbridge - 1999 Germany 170 Akio Suzuki 1941 3334 images/spacer.jpg Mowe (Seagull) - 2002 Germany 170 Akio Suzuki 1941 3338 images/spacer.jpg unknown - 1994 Germany 170 Akio Suzuki 1941 3339 images/spacer.jpg unknown - 1996 Germany 170 Akio Suzuki 1941 3341 images/spacer.jpg unknown - 2000 Germany 186 Herman von Helmholtz 1821 3346 images/spacer.jpg Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik demonstrating his interest in the physics of perception. The book was translated by Alexander J. Ellis in 1885 (first English edition from third German edition completed June 1885, and second English edition from fourth German edition completed July 1885) - 1863 Germany 186 Herman von Helmholtz 1821 3347 images/works/Helmholtz_resonator_2.jpg the Helmholtz resonator to show the strength of the various tones. - 1864 Germany 187 Trimpin 1951 3356 images/works/trimpin--2006-derring.jpg Der Ring Der Ring consists of three metal circular tracks, small, medium and large, each containing an aluminum ball. Its based on the sound created by Perpetual Motion and the harmonic spectrum ratio of 3-4-5. Trimpin was inspired to make Der Ring when he had a personal moment of clarity: music works through sinus and cosinus - Latin for Sine and Cosine, everything else is secondary.The tracks are supported by an elaborate pulley system hooked up to what Trimpin calls a gearbox. The gearbox is MIDI controlled by a custom programmed developed for a Mac laptop. The program instructs the pulley supports to move up and down which creates an rolling moment that propels the ball around the circumference of the track. Based on the speed, duration and travel length of the pulleys the ball can move fast or slow, and in either direction. The pulsating sound created by the movement of the ball gives Der Ring a distinctive sonic flavor that is soothing and fascinating at the same time. Accessed 25.02.2008 from - 2006 Germany 172 Miki Yui 1971 3397 images/works/Yui-2007-Steps.jpg steps ash, rolled lead sheet, charcol, dead appletree, scull of small animal peizos, copper wires, 4 CDplayers, 2speakers 2007 Germany 172 Miki Yui 1971 3399 images/spacer.jpg Still Life under your feet ash still small sounds light movement (or just our imagination?) reveal life in stillness walk through the space see music growing. Accssed 24.02.2008 from _wood ash_broken window pieces_charcoal_copper wires _piezospeakers_5 cd players_4 speakers_a drawing (29x600cm) 2006 Germany 172 Miki Yui 1971 3400 images/works/Yui-2006-atem.jpg atem / innerest a piece of white paper awating for an image atem- breath awaiting to become music blowing through us Paper rolls hanging along the walls. Movement of air inside and outside of paperwall gently changes the space Actuall sound from outside andsmall sounds merge, let visitor´s imagination grow onto (seemingly ordinary) our enviroment. Miki Yui ( March 2006 ) Accessed 24.04.2008 from paper, 4 CDplayers, 8speakers 970 x 420 x 300cm 2006 Germany 172 Miki Yui 1971 3401 images/works/Yui-2004-atokata.jpg atokata one morning, my breakfast cup went broken. i was sad, and started to wash the pieces in water, suddenly the porcelain start to make sounds, sounds of porcelain breathing. i was then very happy. As the light through the window turns slowly to autumn, I collected some personal materials that remained from the activities in spring to summer, and brought to Berlin. Ash from the fireplace next to our tent, Rain drops fall on a piece of Japanese paper, Seeds collected from the garden at the end of summer… In my mind, I was missing an image of a spider. As a part of installation, she could carry on weaving the time. After the installation was set at the window, (thanks to time of the year) a spider from gelbe Musik appeared and joined the work and carried on with the music. Dec.2004 Miki Yui Accessed 24.04.2008 from _broken cup_ wood ash_ shells _japanese paper in rain_ houzuki_seeds from a primary flower _seeds from Gelbe Blumen_seeds from old reed _piezo speakers_4 ch sounds ( air and water)_3 drawings 2004 Germany 172 Miki Yui 1971 3402 images/works/Yui-2004-View.jpg view over the pond For one moment Stay still , a place, an excerpt of a view. Along with the sound of the traffic, the wind or the birds from the park, thin line of small sounds marks and outlines the view the moment of silence with view over the pond. Shakkei - a borrowed view an idea/technique in Japanese garden, to integrate surrounding elements (natural or artificial)as a distant view to complete one’s own garden. This has a similarity to listening to sounds from environment. When we take a moment to listen to our environment, trying listen to the whole, including our own sound ? heartbeat, breathing. We realize that sounds are not separated, they sometimes even resonate. Our ears are in this continuous flow of sounds, and still can pick up a smallest sound in a complex environment. The installation invites visitors to a view over the pond (Aachener Weiher)from balcony of Japanese Cultural Institute. Along with the installation, is a white sketch book, inwhich visitors can trace their acoustic experience from the installation. 5.April 04 Miki Yui. Accessed 24.04.2008 from _DVD Audio 5ch surround system _ paper _piezo speakers 2004 Germany 188 Rolf Julius 1939 3407 images/spacer.jpg Music on Two High Poles - 1979 Germany 188 Rolf Julius 1939 3408 images/spacer.jpg Morning Song in collaboration with Joan La Barbara - 1981 Germany 188 Rolf Julius 1939 3409 images/spacer.jpg Music for the Earth - 1981 Germany 188 Rolf Julius 1939 3410 images/spacer.jpg Music for the Eyes - 1981 Germany 188 Rolf Julius 1939 3411 images/spacer.jpg Music for a Pane of Glass - 1980 Germany 188 Rolf Julius 1939 3412 images/spacer.jpg Music for a Yellow Room - 1982 Germany 188 Rolf Julius 1939 3413 images/spacer.jpg Chamber Concert for Three Loudspeakers - 1982 Germany 188 Rolf Julius 1939 3414 images/spacer.jpg Concert for a Frozen Lake - 1982 Germany 188 Rolf Julius 1939 3417 images/works/Julius-2005-FarAway.jpg Musik weit entfernt (Music Far Away) On November 18, the yearly Hannah Höch Prize was awarded to Rolf Julius by Berlin’s Senator for Science, Research, and Culture. Ever since the 1970s this artist born in Wilhelmshaven in 1939 has remained one of the pioneers of activity working in the border area between the visual arts and music. Still of exemplary and cutting edge character today, these artists developed an art form for which the term “sound art” has been established. In his last 30 years of work on sound installations, Julius has combined acoustical and sculptural elements to space related pieces. Influenced by John Cage with his maxim “you just have to take things for what they are” and Japanese culture, he has found a “stillness” in the language of sound and form that is characteristic of his work. Whether in single objects or in space demanding installations, his insertion of exciting “tiny” sound events calls for a higher degree of awareness. Rolf Julius who has shown works in important exhibitions all over the world is presenting his video sound installation “Music far away” for the first time on the occasion of the Hannah Höch Prize. Accessed 27.02.2008 from - 2005 Germany 188 Rolf Julius 1939 3420 images/spacer.jpg Bewegung, oder wie Klänge verschwinden (Movement, or how sounds disappear) I like these out-of-the-way spaces in the Akademie der Künste. One descends a narrow staircase, arrives in a kind of catacomb, and suddenly is far away from the nervous energy of the building. Here there is no natural light, and the light is switched off, too. If one wants to find the sounds here and there on the walls, or lying under stones, or in bowls or under sheet iron, some light comes from the tiny LCD monitors whose videos are part of the installation. I would like it to be still in these spaces, acoustically and visually still. I know that some of the videos will be helpful in this regard, for the movement of the video images can cancel out the movement of the sounds. Julius, 2006. [Rolf Julius, 2006] Accessed 27.02.2008 from - 2006 Germany 193 Bernhard Gunter 1957 3446 images/works/Gunter-1993-Peu.jpg Un Peu de Neige Salie - 1993 Germany 203 Peter Keifer 1961 3457 images/spacer.jpg Traverse Frequenz with Peter Simon - 2004 Germany 206 Micheal Jullich 1953 3460 images/spacer.jpg Sunwheel 16-hour concert on Sunshine - 1990 Germany 207 Georg Ulrich Eller 1953 3461 images/spacer.jpg Resonanzbehälter A formation of identical metal cabinets is the starting material for the sound sculpture Resonanzbehälter (resonance container). Placing the cabinets exactly next to each other in a row creates the visual impression of one large structure. In contrast to the way cabinets usually are positioned, this structure can be approached from all sides. While the fronts of the closed doors remain the focal aspect, the whole thing vibrates and is the starting point for an acoustic manipulation that makes the material itself — the sheet metal of the sides, bottoms and shelves — audible. Sound moves the material as independently-acting resonance in an otherwise completely hermetic object — even as the visual unity of the row of cabinets as a whole contradicts that independent acoustic life. Nothing exists that is serial or linear, but there is a vibration that encompasses the entire entity, and which allows concrete occurrences within to be intermittently perceived from outside. The intensity of the frequency impulses is drowned out both by the volume of the oscillations that have been generated in the material and by vibrations that can be felt. An indirect line of light running along the floor underlines the strangeness of the sounding object. Accesed 22.03.2008 from - 2006 Germany 212 Mauricio Kagel 1931 3466 images/spacer.jpg Staatstheater a ballet for non-dancers, though in many ways is more like an opera, and the devices it used as musical instruments include chamber pots and even enema equipment. As the work progresses, the piece itself, and opera and ballet in general, becomes its own subject matter. Accessed 24.03.2008 from - 1971 Germany 216 Dodo Schielein 1967 3470 images/works/Schielein-1996-cluster.gif Clusterboards The Clusterboards represent tightly condensed piano pieces from the history of music. Each cluster is compressed in such a way that each pitch in the piece from musical history is notated once. For each Clusterboards there is a characteristic way of playing. Each piece is played three times with a break of ten seconds. Accessed 17.04.2008 from - 1996 Germany 219 Limpe Fuchs 1941 3473 images/spacer.jpg Den Stimmen nachhören Wiederholung 1993, BR 1994 - 1991 Germany 220 Hans Reichel 1949 3474 images/works/Reichel-1987daxophone.gif Daxophone In recording terms, the daxophone first saw the light of day in 1987 on the LP (and re-issued CD) The dawn of Dachsmann. Reichel has provided detailed information about the instrument, particularly in the notes to FMP CD 46, while it has also been the subject of various intrigued commentaries such as that found in Gravikords, whirlies and pyrophones. Put simply, the instrument comprises a narrow flat strip of wood anchored at one end and which can be bowed, scraped, tapped or otherwise vibrated and whose frequency of vibration can be varied by the application of a mobile wooden block anywhere along the length. The flat strips are approximately 330 mm in length, 30 mm wide and 5mm deep; they are shaped from different woods and with different contours to provide a variety of sound generators. These daxophone sticks are anchored at one end. Initially, any firm anchor was used, for example, by clamping to a table top, but more recently a tripod stand has been developed which not only holds the sticks in a more controllable environment but also provides a base for a small contact microphone The degree of vibration of the strip - and thus its sonic capabilities - can be varied by pressing a rounded wooden wedge of approximately 150 mm by 50 mm wide backwards and forwards along its length. This is the Dax . Reichel has also produced a range of daxes, one being notched to take guitar-like frets on one side and which enables a scale of distinct notes to be created, in comparison to the slide notes on its other side.With regard to the name of the instrument, Reichel states that he had a Swedish LP called Mammal voices of Northern Europe, vol. 1 which featured wolves, rats, bats, fieldmice and also a badger (German: Dachs). Being impressed by the badger s great sonic range, the instrument was then given its name, with echoes of Adolphe Sax and then the chs was changed to x , because I got fed up with having to keep on repeating the story . - 1987 Germany 221 Heinrich Mucken 1982 3475 images/spacer.jpg NURNICHTNUR Kunst- und Musikproduktion - 1983 Germany 222 Terry Fox 1943 3476 images/works/Fox-19998-Ataraxia.gif Ataraxia Sound is a means of communication, a universal language. It enters the healthy ear without impe- diments of langage or prejudice It is perceived by every culture in the same way: via the auditory canal. It enters the ear without consent of the listener. It vibrates the eardrum. It requires no intellectuali-zation. No intelligence is necessary. No common language need be spoken. Illiteracy is irrelevant. Sound pauses as pulses in the air. Performance is, for me, an attempt to discover a language or method of communication which bypasses these barriers as sound does. The most important aspect of performance is the elimination of media or mediating or condition. The action is performed live and in front of its receiver. It exists only on these terms and in this context and no other: like eating. My work with the labyrinth led increasingly to the almost limit less sculptural possibilities of sound ISBN 3-922689-91-3 Edition S Press and Plate Lunch PL 06 Accessed 25.03.2008 from Field Recording 1998 Germany 223 Peter Vogel 1938 3477 images/works/Vogel-1988-Minimal_Music_KlangWand.jpg Minimal Music Klangwand Electronics 1988 Germany 219 Limpe Fuchs 1941 3489 images/spacer.jpg Caccia BR, 1997, Deutschlandradio 1998 - 1991 Germany 220 Hans Reichel 1949 3490 images/works/Reichel-1992-Shanghai.gif Shanghaied on Tor Road the worlds 1st operetta performed on nothing but the daxophone Hans Reichel, daxophone. 1. Give me money (03.28) 2. Shanghaied on Tor Road [1] (04.22) 3. Prelude to Alleycats never complain (01.10) 4. Der tunnelwart (Big lulem) (03.56) 5. Machines make me happy (07.25) 6. It s a bit Churchillian (03.10) 7. Death bringer upon common violets etc. (04.57) 8. Welcome würgl waltz (03.11) 9. The unprecedented crimes of Mbroruk (04.05) 10. Hi (03.06) 11. A rare case of dalbergia cochinchinensis (04.28) 12. Panne lieb (03.09) 13. Sentidental energy (03.23) 14. Reunite and shut up (03.59) 15. Lulem [der kleine tunnelwart] (03.27) 16. No way to hide (04.48) 17. Py and the Jamas (04.11) 18. Shanghaied on Tor Road [2] (03.42) Recorded in February and March 1992. Front cover photograph (reproduced above) by Georg Schreiber. Accessed 19.05.2008 from Daxophone 1992 Germany 221 Heinrich Mucken 1982 3491 images/spacer.jpg Workshop: Experimentelle Musik - 1983 Germany 222 Terry Fox 1943 3492 images/works/Fox-2003-Works_with_Sound.jpg Works With Sound/Arbeiten Mit Klang Works with Sound presents a complex body of work, comprising thirty years of sculptures, drawings, environments, and performances. Fox, who since the 1960s radically rejected traditional art forms and sought new ways of artistic expression, has been increasingly concerned with investigating the seldom-observed energetic aspects of materials. Hence, sound gained a central significance in his works. The artist is dedicated to finding sounds that make energies palpable and connect the listener and his physical surroundings. - 2003 Germany 223 Peter Vogel 1938 3648 images/works/vogel-1980-circular.jpg Circular Acceleration #36 mixed media 1980 Germany 224 Thomas Koener 1965 3494 images/spacer.jpg Various Soundworks Writing music for radiophonic presentation offers both opportunities and challenges. The works usually have a duration of 52 min. Geräusch Des Monats 12 editions january - december 2008 Deutschlandradio Kultur 2008 terrain vague Deutschlandradio Kultur 2007 Station Eismitte Studio Akustische Kunst WDR 3 Cologne 2006 Beckett-Granulate Studio Akustische Kunst WDR 3 Cologne 2006 Niemandsbucht Deutschlandradio Kultur 2005 Une Topographie Sonore: Col de Vence Atelier de création radiophonique / Radio France Thomas Köner and Yannick Dauby 2002 Accessed 24.03.2008 from - 2005 Germany 230 Gunter Demnig 1947 3500 images/works/Demnig-xxxx-Stolperstine.jpg stolpersteine - 2007 Germany 236 Robert Jacobsen 1963 3506 images/works/Jacobsen-1989-SolarHarp.jpg SolarHarp - 1989 Germany 241 Baudouin Oosterlynck 1946 3511 images/works/Oosterlynk-1995-Performance.jpg Rauf fur den Zauberstab - 1985 Germany 243 Yufen Qin 1954 3513 images/works/Qin-1996-Qing.jpg Qing Zhou - 1996 Germany 222 Terry Fox 1943 3533 images/works/Fox-1970-tonguings.jpg Tonguings Reflecting a duality typical of the body-based video of the 1970s, Tonguings is at once conceptual and sensual. The viewer sees Foxs open mouth in extreme close-up, as he proceeds through an exhaustive demonstration of positions of the tongue in relation to the lips. While restricted in subject, setting, and the possibility of narrative movement, Foxs tonguings generate tension through their exploration of repetition and difference, appearing variously suggestive of absurdity, sexuality, abjection, and menace. Accessed 25.03.2008 from 21 min, bandw, sound 1970 Germany 222 Terry Fox 1943 3534 images/works/Fox-1974-childrenstapes.jpg Childrens Tapes Childrens Tapes is a classic early video work, a seminal investigation that translates the aesthetics of minimalism, performance, perception and real time into the vernacular of the everyday. With ingenuity and wit, Fox constructs phenomenological dramas from the science of the quotidian. Suspense and surprise suffuse a series of anecdotal episodes that demonstrate basic physical phenomena. Fox builds dramatic tension and mystery with an extreme economy of means, focusing a stationary black-and-white camera on ordinary household objects. With the camera close to his still-life subjects, Fox constructs a series of elementary experiments that illustrate fundamental principles of physical science: A piece of fruit is placed under a tin lid held up by a single match, as an unsuspecting fly approaches the bait; a spoon, balanced on a fork, holds a piece of ice until the melting water topples it; a candle in a pan of water is extinguished when a pot is placed over it. The intimate scale, magnified view, and suspenseful unfolding of minute events in real time all serve to intensify the viewers perceptions and expectations in these engaging mini-narratives. 1974, 30 min, bandw, sound 1974 Germany 149 Nam June Paik 1932 3543 images/works/Paik-1977-documenta.jpg Documenta 6 Satellite Telecast Documenta, held every five years in Kassel,Germany, is one of the largest and most important contemporary art surveys. In 1977, Documenta 6 featured the first live international satellite telecast by artists. Performances by Nam June Paik, German conceptual artist Joseph Beuys, and Douglas Davis were transmitted to over twenty-five countries. Paik and Charlotte Moorman are seen live from Kassel in Fluxus-inspired collaborative performances, including TV Bra, TV Cello, and TV Bed. They fuse music, performance, video and television in an homage to global communications. Also from Kassel, Joseph Beuys presents a direct address to the public, elaborating on his utopian theories of art as social sculpture, which were crucial to his conceptual project. From Caracas, Venezuela, Davis performs The Last Nine Minutes, a participatory piece in which he addresses the time/space distance between himself and the television viewing audience. Accessed 25.03.2008 from 30 min, color, sound 1977 Germany 219 Limpe Fuchs 1941 3545 images/spacer.jpg Pferd Solo : BR, WDR 1996 1993 Germany 219 Limpe Fuchs 1941 3546 images/spacer.jpg Figur Natur Klang im Kunstraum Klosterkirche Traunstein . Lithophon, Pendelsaiten Perkussion zu Skulpturen von Andreas Bindl 2003 Germany 219 Limpe Fuchs 1941 3547 images/spacer.jpg David und Goliath for Peter Ketturkat 2005 Germany 219 Limpe Fuchs 1941 3548 images/spacer.jpg König Midas Peter Ketturkat 2005 Germany 219 Limpe Fuchs 1941 3549 images/spacer.jpg animare with Gisela Oberbeck 2005 Germany 219 Limpe Fuchs 1941 3550 images/works/Fuchs-2002-pianobody.jpg Pianobody 2002 Germany 219 Limpe Fuchs 1941 3551 images/works/Fuchs-2006-klosterkirche.jpg Symphonische Klangperformance Konzert in der Klosterkirche mit Limpe Fuchs und der Fotokünstlerin Inge Vogt begeisterte. 2006 Germany 219 Limpe Fuchs 1941 3552 images/spacer.jpg Schatten tanzen im Klang – Mobile dreiteilig ist die Performance, die leise, sinnliche Kunst der Schattenspielerinnen wird von kleinen Klangkonzerten von Limpe Fuchs auf Metalltrommeln und singenden Bronzestäben unterbrochen. Am Schluss der experimentellen Inszenierung sind die Performerinnen selbst zu Mobile-Figuren geworden, balancieren auf höchst poetische Weise Spannungen zwischen langen Eisenstäben und den Körpern aus. Accessed 25.03.2008 from 2000 Germany 219 Limpe Fuchs 1941 3553 images/works/Fuchs-1991-zollern.jpg Zollern II Neun junge Musiker halten eine ganze Maschinenhalle, die der Zeche “Zollern II” in Bövinghausen “besetzt” – und ein engagiertes Publikum ausser Atem. “Spontan Klang Komposition” hieß das Projekt, für das Limpe Fuchs für die Kirchentags “Freiräume” ein zehnköpfiges Ensemble, die Gruppe “Spot Stop 2” um sich scharte [...] Accessed 25.04.008 from 1991 Germany 219 Limpe Fuchs 1941 3555 images/works/Fuchs-1987-Ballast.jpg Ballast eine Liebe 1987 Germany 193 Bernhard Gunter 1957 3556 images/spacer.jpg Détails Agrandis 1994 Germany 193 Bernhard Gunter 1957 3557 images/spacer.jpg trente oiseaux i founded trente oiseaux in 1995, accepting an idea my friend francisco lópez came up with: why dont you just create your own label?. i worked on the concept for the label during 1995, also getting the first artists to release something on it, and by the end of the year, the first four trente oiseaux cds were released. my concept for the label was: - accept only works of very good quality that i would be able to really justify choosing, thus giving the potential buyers a reason to trust in trente oiseaux as a source of good music (the qualities i was looking for were mainly originality and an accent on composition, so to assure listening pleasure and food for thought at the same time); - use a recognizable cover design (one basic design with slight variations to the taste of the artist) to create a kind of identity for the label right from the start and make it attractive for collectors). 1995 Germany 193 Bernhard Gunter 1957 3558 images/spacer.jpg Ataraxia Günter adds various bamboo flutes, the shakuhachi and the xiao among others, to his sound palette, and begins exploring a middle course between composition and improvisation that uses multi-tracking, editing, and arranging improvised parts that are exchanged between artists through the mail. Accessed 24.03.2008 from 2005 Germany 193 Bernhard Gunter 1957 3560 images/works/Gunter-2001-crssrivr.jpg Crossing the River 2001 Germany 193 Bernhard Gunter 1957 3561 images/spacer.jpg Buddha with the Sun Face / Buddha with the Moon Face 1999 Germany 212 Mauricio Kagel 1931 3563 images/spacer.jpg Ein Aufnahmezustand about the incidents surrounding the recording of a radio play. 1969 Germany 212 Mauricio Kagel 1931 3564 images/spacer.jpg Ludwig van a reproduction of Beethovens composing studio is seen, as part of a fictive visit of the Beethoven House in Bonn. Everything in it is papered with sheet music of Beethovens pieces. The soundtrack of the film is a piano playing the music as it appears in each shot. Because the music has been wrapped around curves and edges, it is somewhat distorted, but recognisably Beethovenian motifs can still be heard. In other parts, the film contains parodies of radio or TV broadcasts connected with the Beethoven Year 1770. Kagel later turned the film into a piece of sheet music itself which could be performed in a concert without the film - the score consists of close-ups of various areas of the studio, which are to be interpreted by the performing pianist. Accessed 24.03.2008 from 1971 Germany 203 Peter Keifer 1961 3568 images/spacer.jpg voices of spirituality Kompositionsauftrag des Studio akustische Kunst, Kulturradio WDR3 48min 2007 Germany 203 Peter Keifer 1961 3569 images/spacer.jpg Klangraum-Raumklang 2004 2004 Germany 203 Peter Keifer 1961 3570 images/spacer.jpg 6 x 60 / - simultaneity interdisziplinäre Arbeit mit Studierenden der Akademie der Künste interdisciplinary work with students of the Academy of Art 2005 Germany 203 Peter Keifer 1961 3571 images/spacer.jpg Das Fünfte Element Ankauf durch die Bundesanstalt für Arbeitsschutz, Ausstellung in der , Ankauf durch das , Ausstelung dort.) 2003 Germany 203 Peter Keifer 1961 3572 images/spacer.jpg Paulinen Ruhe 1992 Germany 203 Peter Keifer 1961 3573 images/spacer.jpg Klangpendel in the Herrenhäuser Gärten 1995 Germany 203 Peter Keifer 1961 3574 images/spacer.jpg Ulysses /~Köln Videoinstallation: Ruth Prangen, in Zusammenarbeit mit Prof. Plessi, KHM). 1995 Germany 203 Peter Keifer 1961 3575 images/spacer.jpg Holografic Prism Changer für das Kunstvideo des Lichtkünstlers Dieter Jung, Berlin, mit Simon Stockhausen) 1994 Germany 203 Peter Keifer 1961 3577 images/spacer.jpg Bombay-Bombay for video sculpture by Fabrizio Plessi 1993 Germany 210 Pe Lang and Zimoun 1972 3584 images/works/pe_langandzimoun-2006-32_and_64_electro_hub.jpg 32 and 64 electro hub magnets on wood photos: ferit kuyas Accessed 24.03.2008 from 2006 Germany 217 Erwin Stache 1960 3593 images/works/Stache-1988-stab.jpg Klangfederstab 1 Mechanisches Objekt, Motorantrieb, elektro -akustisch verstärkt 1988 Germany 217 Erwin Stache 1960 3594 images/works/Stache-1989-mrml.jpg Murmelzither Mechanisches Objekt, Motorantrieb 1989 Germany 217 Erwin Stache 1960 3595 images/works/Stache-1989_eckp.jpg Eckpendel Mechanisches Objekt, Motorantrieb, Elektromagnete, elektro -akustisch verstärkt und verfremdet 1989 Germany 217 Erwin Stache 1960 3596 images/works/Stache-1990_wellen.jpg Wellen Mechanische Grafik 1990 Germany 217 Erwin Stache 1960 3597 images/works/Stache-1992_ekg2.jpg Zwönitzer 8-Ton-EKG mit blauer Programmscheibe Mechanisches Objekt, Elektromagneten und Motoren 1992 Germany 217 Erwin Stache 1960 3598 images/works/Stache-1993-tueten.jpg Tüten 13 in 4 13 kleine Schallplatten, 4 Geschwindigkeiten mit mechanische Zeitsteuerung 1993 Germany 217 Erwin Stache 1960 3599 images/works/Stache-1994-Klang.jpg Klangkästentische Elektronische Klänge in schwarzen Kästen, interaktiv 1994 Germany 217 Erwin Stache 1960 3600 images/works/Stache-1995_oton4.jpg Das O-Tonbuffet 1. Entwurf 1995 Germany 217 Erwin Stache 1960 3601 images/works/Stache-1996-trepp2.jpg Treppen-TonTon 1996 Germany 217 Erwin Stache 1960 3602 images/works/Stache-1996-telsch.jpg __00002248_34 Telefon - Wahlscheiben und Soundmodul 1996 Germany 217 Erwin Stache 1960 3603 images/works/Stache-1997-chem.jpg Tonrauschen Chemistry and Music 1997 Germany 217 Erwin Stache 1960 3604 images/works/Stache-1999-sherengitter.jpg Scherengitter Servo - elektronische Klänge - Mikrocontroller - Programm 1999 Germany 217 Erwin Stache 1960 3605 images/spacer.jpg 2:1 für den Klang Table football, 1999 Germany 217 Erwin Stache 1960 3606 images/spacer.jpg O-Tonbuffet 2 Speech Metamorphosis 2000 Germany 217 Erwin Stache 1960 3607 images/works/Stache-2001_wuerf.jpg Würfelrad mit hexadualer Anzeige Sprach- und Klangtransformatoren 5 Würfelräder mit hexadualer Anzeige Fünf Handräder geben je nach Bewegung Impulse an ein elektronisches Modul. Fünf Anzeigetafeln, die auf ca. 2m hohen Stativen befestigt sind, stehen dahinter. Jede dieser Tafeln kann verschiedene Symbole über zwei Felder mit je sieben Leuchtpunkten darstellen. Alle 5 Transformatoren arbeiten autark und auf die gleiche Weise. Über ein Mikrofon werden Audiosignale aufgenommen und auf einen Speicherchip mit 15 Sekunden Speichervolumen aufgenommen. Je nach Stellung des Handrades wird ein Teil dieser Aufnahme als Loop wiedergegeben. Ein Mikrocontroller, geladen mit einem selbst entwickeltes Programm, überwacht die Aufnahme, die Bewegung des Handrades, das Abspiel und die Anzeige. Die Aufnahme wird an zwei Stellen kurz unterbrochen, so daß insgesamt 3 eigenständige Abschnitte zur Verfügung stehen. Die Verhältnisse sind: 0,43 zu 0,27 zu 0,3. Die jeweiligen Abschnitte haben damit eine Dauer von: 6,45 zu 4,05 zu 4,5 Sekunden. Je nach Stellung des Handrades wird eine der insgesamt 32 unterschiedlich langen Sequenzen als Loop abgespielt. Die aufgenommene Sequenz kann so live über das Drehen des Rades zerschnitten und an verschiedenen Stellen wieder zusammengesetzt werden. Die Anzeige, die ich " verdeutlicht das System. Jedem Abschnitt der Aufnahme ist eine zweistelligen "Würfelziffer" zugeordnet, beginnend mit 1-1, 1-2 ....1-5, 1-6, 2-1, 2-2 ... usw. .... bis 6-1, 6-2. Damit lassen sich bestimmte Klangsegmente, für jedermann sichtbar, auswählen und benutzen. Das Drehen der Räder wird zusätzlich elektro-akustisch umgesetzt. Bei langsamen Drehen werden die Impulse als Knackgeräusche mit unterschiedlicher Klangcharakteristik wahrgenommen. Dreht man die Räder schneller, wandelt sich das Knacken in Brummen und schließlich in Töne um. Klangunterschiede gibt es auch beim Richtungswechsel. So klingt das jeweilige Rad rechts herum anders als in der Gegenrichtung. Varianten: 1.) Knacken - Brummen - Tönen: Das Bewegen der Räder als Demonstration der Impulsfolgen. 2.) Aufnahme - Live - Performance: Sprache, Töne, Klänge, Geräuschen u.a. Für jedes Rad stehen etwa 15 Sekunden Aufnahmezeit zur Verfügung 3.) Erst Hören - dann Sehen: Ein bestimmtes Rhythmus- und Klangmuster wird nach Gehör eingestellt. Die Symbolkette der Anzeige richtet sich nach dem Gehörten 4.) Erst Sehen - dann Hören: Eine Symbolkette, ein Muster sozusagen wird eingestellt Rhythmus- und Klangmuster ergeben sich nach eingestellter Symbolkette 5.) Zufall - Sehen/Hören: Die Räder werden angedreht und kommen selbständig zur Ruhe. Ein zufälliges Klang- und Bildmuster stellt sich ein. 6.) Ton An - Ton Aus: Einzelne Objekte werden ein- und ausgeschaltet - Ablaufschema 2001 Germany 217 Erwin Stache 1960 3608 images/works/Stache-2003_sensfl.jpg Midi-Roller Controller, Soundkarten auf Rädern 2001 Germany 217 Erwin Stache 1960 3609 images/works/Stache-2002-midrad.jpg Midi-Räder 3 Systeme: Mikrocontroller, Klangwechsel, Tonveränderungen, errechnet in Echtzeit 2002 Germany 217 Erwin Stache 1960 3611 images/works/Stache-xxxx-soundboxes.jpg Klangkästen Sound Boxes In 27 black boxes sounds, tones, noises, voices and also texts are stored. When opening one hears the appropriate acoustic events. Pitch and tone quality change by the movement of the cover. The far the boxes to be opened, the more highly is for example the clay/tone, the faster the rhythm, the the bright sound. The boxes are distributed and installed on 6 tables after certain topics. Table of the poets: equal 5 large boxes. Four of it can show in each case a text. The fifth box takes up language and plays it when repeated opening. Admission and rendition alternate, so that one can store a comment for a certain time long. The texts are to the free combination and mixture at the disposal. Between the tones: 3 boxes affect each other mutually. Affects one the one sounds it from the other one. Feedbacks can be produced. Transmitter - receivers: With the radio box one can determine the choice of a transmitter by the angle of inclination of the cover. A second box receives signals of a transmitter, which is hidden in the area or outside somewhere. Further variations: Boxes, which can change and vary electronic sounds by moving the cover. Conventionally play doses with their mechanical drive assemblies were inspiration for the sound boxes. Melodies should not only played, but varied and will change. By the radiation from small loudspeakers the electronic sounds receive a completely self-willed charm and character. 1995 Germany 217 Erwin Stache 1960 3613 images/works/Suche-xxxx-Klangpatten-fried2.jpg Töne aus der Erde Granitplatten are shifted in oscillations. 10 prepared granitplatten are as individual flags on the soil. A block disguised with granitplatten is located in the center of the installation. By the arrangement of the plates at the soil the sound is radiated directly from the earth from upward and remains in such a way at the place, can hardly escape. The place is exposed to sound not simply and dipped into a vague noise window blind, but remains clearly and acoustically open. By this characteristic it is possible to move from a sound on the other hand to over-dazzle and mix tones and noises. Also in such a way noises of the environment merge like the noise of the sheets or the twitter of the birds with the sounds of the installation. One can also feel the sounds, by affecting the column in the center or on the individual sound plates placing themselves. The oscillations are passed to the body. The arrangement of the 10 plates is divided into groups to 4+3+2+1 Four plates are arranged as way or line and let individual tones ring out. The plates pass on themselves sense-figurativy the tones. Dialogues develop. Coincidental repetitions let always new variants develop. Three plates, when triangle forms, strengthen a noise in intervals. The on - and Abschwellen effected in the change and moves from plate to plate. Abstractly, reminded perhaps the noise works of sea noise or of the noise of the wind. The two plates arranged in a larger distance stand in direct musical connection. Depending upon taken position between the two plates also the klangliche panorama changes. The individual 10te plate is left finally itself. It radiates noises from the environment apart from sounds also. 2000 Germany 217 Erwin Stache 1960 3614 images/works/Stache-2000-oton2.jpg O-Tonbuffet 2 Saxonian dialect was klangliches raw material for this music machine. Tables with all kinds of articles invite similarly a conventional Buffets to the self serving. All articles present at the table are fastened with cords, which go through the desk top through, and release with the raising of contacts, which head for a complex electronic sound program. The board consists of 9 segments. Each segment is arranged different, both by the sound and by the kind and selection of the articles. Each table contains a special topic. The articles are sorted according to form, material, origin and history. With the raising of the articles one hears noises and sounds, which caused these or which in a certain connection to the objects. The microphone was used as acoustic magnifying glass. The articles tell sense-figurativy something of their origin, 2000 Germany 235 Stephan von Huene 1932 3623 images/works/von_Huene-1982-Texttones.jpg Texttones 1990 Germany 236 Robert Jacobsen 1963 3625 images/works/Jacobsen-1994-HeSheIt.jpg He - She - It 175 x 80 cm 1994 Germany 2 Bill Fontana 1947 3646 images/works/Fontana-2008-kolumba.jpg Kolumba Art Museum There is no floor, only a red wooden walkway that zigzags through the half-light, past stone stumps and concrete columns that reach up to the ceiling like new shoots. Below this walkway, disappearing into the depths and the darkness, are the excavated ruins of crypts, vaults and foundations. And, barely audible above the traffic passing by outside, comes the sound of wings flapping and pigeons cooing. Where are they? None are visible. This, the cavernous ground-floor room of Colognes new Kolumba art museum, is a place of mystery and awe. You enter it from the museums airy foyer, through thick leather curtains, and are instantly transported to another world. It is dimly lit, but fresh air and dappled sunlight spill in from honeycomb-like perforations high above. Embedded in the light brick walls are the blackened windows and arches of a ruined gothic church, onto which this new building has been grafted. To the right, a blue-green glow emanates from the stained-glass windows of a small, octagonal chapel that has been swallowed by this space. Were looking into it from the outside. It sounds like there s a lot going on here, but it doesn t feel like it. Instead, the sensation is of a sacred space: calm, powerful, unforgettable. Time seems to stand still; thousands of years of history are visible all at once. Accessed 08.04.2008 from 2008 Germany 223 Peter Vogel 1938 3649 images/works/Vogel-1975-tonsaule.jpg Tonsäule electronic wire sculpture, two photo cells, one speaker conjoint with a electronic circuit 1975 Germany 223 Peter Vogel 1938 3650 images/works/Vogel-1978-interactive_sound_object.jpg Interaktives Klangobjekt 1978 Germany 223 Peter Vogel 1938 3651 images/spacer.jpg Keller Orchestra 1991 Germany 188 Rolf Julius 1939 3662 images/works/Julius-1995-Eisen.jpg Gelb 1995 Germany 29 Christina Kubisch 1948 3679 images/spacer.jpg Emergency Solos Carried out until 1975 Flute, box gloves 1973 Germany 188 Rolf Julius 1939 3682 images/spacer.jpg Ruckenaktion 1976 Germany 212 Mauricio Kagel 1931 3687 images/spacer.jpg RRRRRRR....Eine Radiophantasie 1981 Germany 212 Mauricio Kagel 1931 3688 images/works/Kagel-1994-Nah.jpg Nah und Fern Bells and trumpet 1993 Germany 230 Gunter Demnig 1947 3692 images/works/Deming-1996-Klangturm.jpg Schwarzer Klangturm 1996 Germany 232 Josefine Guenschel 1960 3694 images/works/Gunschel-1994-Untitled.jpg Ohne Titel High up in a windy attic in a castle in Mecklenburg lie two feathery balls. At regular intervals, the sound of flapping wings emerges from within. Accessed 14.04.2008 from Feathers, wire, looped cassette tape, speaker 1992 Germany 232 Josefine Guenschel 1960 3695 images/works/Gunschel-1988-Skulptone.jpg Skulptone Wood, Steel, Contact Microphone 1988 Germany 188 Rolf Julius 1939 3700 images/works/Julius-1991-6_Raume.jpg 6 Raume (Zellen) Nr. 2 Stein Colour, Loudspeaker, Steel, Tape, AudioCassete with Electroacoustic Sounds 1991 Germany 212 Mauricio Kagel 1931 3702 images/works/Kagel-1971-Two_Man_Orchestra.jpg Two Man Orchestra until 1973 1971 Germany 22 Christian Marclay 1955 3703 images/works/Marclay-1993-BerlinMix.jpg Berlin Mix 1993 Germany 208 Robin Minard 1953 3704 images/works/Demarinis-1989-fireflies.jpg Stationen 1992 Germany 243 Yufen Qin 1954 3710 images/works/Qin-1996-Zhu.gif Zhu Lin 1996 Germany 246 Sarkis 1938 3716 images/works/Sarkis-1995-Geistesblitz.jpg Geistesblitz 1995 Germany 223 Peter Vogel 1938 3719 images/works/Vogel-1994-trommel.jpg Trommel-Trio 3 trommel, 6 kloppel, photocell, 102 cm 1994 Germany 223 Peter Vogel 1938 3720 images/works/Vogel-1983-4.jpg 4stimmiges Standobjeckt 4 photocells, 4 loudspeakers, 103 cm hign 1983 Germany 188 Rolf Julius 1939 3722 images/works/Julius-1994-6_Raum_Number_3_Sand.jpg 6 Raum (Zellen) Nr. 3 Sand 1994 Germany 208 Robin Minard 1953 3723 images/works/Minard-1994-Klangweg.jpg Klangweg 1994 Germany 208 Robin Minard 1953 3726 images/works/Minard-1995-Klangstille.jpg Klangstille 1995 Germany 252 Elmar Daucher 1934 3731 images/works/Daucher-xxxx-Sculptur.jpg Klangstein - 1972 Germany 29 Christina Kubisch 1948 3734 images/works/Kubisch-1995-Passagen.jpg Passagen 1995 Germany 255 Wolf Vostell 1932 3740 images/works/Vostell-1995-Fluxus_Symphonie.jpg Fluxus-Synfonie fur 40 Staubsauger vacuum cleaners 1995 Germany 231 Dennis Guen 1956 3758 images/spacer.jpg Beyond Visibility and Invisibility 1997 Germany 231 Dennis Guen 1956 3760 images/spacer.jpg Ignatios Briefe 2001 Germany 232 Josefine Guenschel 1960 3761 images/works/Gunschel-2002-wasserwerks.jpg water works The swimming pool in Oderberger Street was designed and built by Ludwig Hoffmann between 1897-1902. It boasts an opulent, main swimming hall and served as a washing and swimming centre for the citizens of Prenzlauer Berg. The pool was closed in 1986 as cracks developed in the main hall and the swimming pool itself. The washing areas and sauna remained opened until 1997, after which the building was closed. 12 domestic sprinklers were positioned in the empty swimming pool. Water squirting out from small openings created arched forms which moved backwards and forwards, emulating fan or wave-like motions. Each sprinkler was mounted on flexible springs – tentatively, the regulated movement of the sprinklers breaks down and they begin to follow their own, independent impulses. The arrangement of the sprinklers causes the fans of water to interlock, run parallel or against each other. Simultaneously these arches echo the architectural curves and arches within the room. Unfortunately the sprinklers’ activities serve to no avail – the water flows over the tiles where it drains away – plant life cannot be coaxed from the ground or be saved from drying up. Accessed 16.04.2008 from Domestic sprinklers, hoses, plexiglass, suspension springs 2002 Germany 232 Josefine Guenschel 1960 3762 images/works/Gunschel-1999-steel.jpg Steel bands Metal strips over two metres in length and made of suspension steel are struck by motorised metal hammers causing them to swing, whip and clash against each other. After a while the vibrations become slower and the metal strips return to their initial positions before being struck once again and sent into motion. A nervous, pulsating environment is created in which events take on an unusually life-like character. Suspension steel, electric motors, hammers 1999 Germany 232 Josefine Guenschel 1960 3763 images/works/Gunschel-1995-ziezow_1.jpg Ziezow ‘Konsum’ was the name of the former East German retail chain and in the Ziezow Konsum shop, time appears to have stood still since the fall of the Berlin Wall. It seems impossible to connect to the present. It is a mysterious, melancholy place, out of step with time. Nothing was altered in the shop – only a cassette recorder with a tape-recorded voice was added. The tape contains a collage of texts originally spoken by people with dysfunctional memories. Accessed 14.04.2008 from ----- When were you born? - What? It was here on the table and has been moved, right? I was wondering how old you are? - Maybe… I couldn’t put it together that quickly. It’s not possible. In what year were you born? - The thing is… these things take time to get through. You have to put things back together first. 96 yes it was 96... it was 96. Or am I carrying on because I know that… that… That’s too big you can’t get there. There are too many things in between, right? It doesn’t come that quickly into your head. Yes, my sister was here. She was away on holiday, came, because she was put aside – it just wasn’t like that with us. And there knowing, I was then I couldn’t stay there alone, because I couldn’t get my food and things like that – at first it didn’t work out. After awhile I said I wanted to go back to my flat and it got better and was then, and I can see it better that I stayed outside. Do you understand, than as if I was with strangers – that’s not on… and my sister when she’s here and she helps when its needed what has to be done. How long have you been with us, Mr S.? - Yes. What have you been doing all your life? - Yes … that’s right, as well as my kiddies. Did you work in the city of Stade? - Yes …yes. Which company was that? - Yes, I worked until I was 65. Where were you born? - Yes, I don’t know. I know my mother was used to it. Yes, I see here how we, that… that’s not true. But before here, that’s something, the one before is gone, so I can see that, that’s the door, the door closes with a scabby tractor and then sees the… had to do it earlier, the machines. How old are you then? - Where? How old are you? - Yes, I’ve been here for a week from – I was born in December – In what year were you born? Nineteen . - When, afterwards? When were you born, your date of birth. - Yes … a… I’m from the Rhine… Rhineland in Germany. The news on TV is way too fast. Recently there was something on Guatemala. Guatemala? I thought about that word and the news was already somewhere else. I never found out what was up with Guatemala. I didn’t hear anything after that. Yes, I‘ll say there are complications. I have to do it differently … I think you have to begin at the bottom and not at the top. It’s like this: against the past I have to say this about the big beginning first as I turned up it’s obviously a big difference … today is better than then, and we don’t have to debate on it. Mr. S., how many children do you have? - How much I earn, in the bag… or… No how many children do you have? You told me earlier you visited your children. Do you have a daughter? - Yes. Or do you have a son? - Yes, I was… Do you have children, Mr S.? - After the war I was in Banje… in Bell… in a big hotel in Badenbult… and in Eisenach…is she still living? I’ll tell you something though… no I will…I’ll tell you something. Maybe it’s a sort of fairy tale. Once there was a spider… at first the spider could catch his flies… and they crawled up the hill… but he couldn’t always catch them… until they landed on a high tree… and then without wanting to, they were caught on his silvery thread. If you lose this thread… I can only say this… this spider…as cruel as heaven can be…so cruel was the spider. Is that possible? [ The texts have been partly revised and were taken from the following books: Angela de Friderici: „Neuropsychologie der Sprache“ (Neuropsychology of Language) Luise Lutz: „Das Schweigen verstehen. Über Aphasie“ (Understanding Silence -about Aphasia) Klaus Poek (Hg.): „Klinische Neuropsychologie“ (Clinical Neuropsychology) V.M. Roth (Hg.): „Sprachtherapie“ (Speech therapy) Vincentz-Verlag (Hg.): Video „Alzheimersche Krankheit“(Alzheimer’s Disease)] Tape recorder 1995 Germany 207 Georg Ulrich Eller 1953 3764 images/works/Eller-1996-Snare.jpg Snare Drums 1996 Germany 233 Matt Heckert 1957 3766 images/spacer.jpg Maschinenklang 1994 Germany 235 Stephan von Huene 1932 3779 images/spacer.jpg The Magic Flute 1985 Germany 218 Christof Schlaeger 1958 3782 images/spacer.jpg Mystik and Maschine von Arvo Pärt, Alexander Knaifel und Christof Schläger Überwasserkirche, Frauenstrasse mit Christof Schläger, Geräuschgestaltenorchester Annette Kleine, Mezzosopran/ Andreas Wickel, Orgel Klaus Kleffner, Schlagzeug Westfälischer Kammerchor Münster, Leitung: Markus Föhrweißer 2000 Germany 254 Guenther Uecker 1930 3791 images/spacer.jpg Svhwarzer Rotor 1967 Germany 216 Dodo Schielein 1967 3792 images/spacer.jpg Compressing-Condensing With Eckhard Rhode (author) and Dodo Schielein Recorded live on 28 November 1998 in im stall (Berlin). Sales Agencies: (1) Scholz Verlag (Obermichelbach), (2) Liebermann Schallplattenvertrieb (Bayreuth) ISBN: 3-925599-43-6 1999 Dodo Schielein/Eckhard Rhode Length: 4110 Dodo Schielein plays pieces for a zither out of tune, Five Clusterboards - objects for a piano and Music for the hand barrel organ Eckhard Rhode reads pieces from his texts and text 1980/1998 The composer and musician Dodo Schielein and the author Eckhard Rhode arrange an evening. Taking turns the artists present pieces of their creative work. How are distinctions represented in this combination? Do overlapping/distinguishing elements show affinities with reference to their respective elements? Accessed 17.04.2008 from 1998 Germany 216 Dodo Schielein 1967 3793 images/spacer.jpg Vierklang 1. For two zithers: recordings produced in Kajetan Löfflers recording studio Tonstudio K. in Simbach am Inn at the occasion of the exhibition Hallo Julbach of the MORE Edition 1997. 2. For two electric guitars: recorded live by Volker Zeigermann on 27 June 1995 at the College of Fine Arts in Hamburg. Length: 2205 Vierklang is a composition for two zithers and two electric guitars. The notes e1 , h1 , c sharp and a are found at the beginning of the piece, which is made up of a systematic sequence of all combinations possible with the four notes: e1 , e1 , e1', 'e1' is followed by 'e1', 'e1', 'e1', 'h1' and then by 'e1', 'e1', 'e1', 'c sharp 2' etc. all the way through 'a', 'a', 'a', 'a'. This results in 256 measures. The guitarists play simultaneously reading from the same sheet of music lying between them. Both start reading/playing from the top left. The beginning of the piece for one of the musicians means the end for the other. They read identical symbols as different notes, 'e1', 'h1', 'cis2' and 'a' in the treble clef 'a', 'd', and 'e1' in bass clef. 1997 Germany 216 Dodo Schielein 1967 3794 images/spacer.jpg Musik in Deutschland 1950 – 2000 Instrumentales Laboratorium (tone-deaf laboratory) Dodo Schielein, moving preparations for the grand piano: slide (Track 13+14) © 2004 BMG Ariola Classic GmbH, Deutscher Musikrat, RCA Red Seal LC 00316 Other Composer on the CD: Dieter Schnebel, Christina Kubisch, Manos Tsangaris, Hans Karsten Raecke, Sven-Ake Johansson, Paul Fuchs/Hariolf Schlichtig, Erwin Stache and Andreas Oldörp Length: 7230 You can order the CD at 12,99 Euro In slide a (drinking) glass is placed upside-down on a piano s string. When the musician hits the keys of the wires underneath the glass it starts moving because of the vibration. 2004 Germany 216 Dodo Schielein 1967 3795 images/spacer.jpg Fragments - solo for the Electric Guitar Recorded in Kajetan Löfflers recording studio Tonstudio K. in Simbach am Inn at the occasion of the exhibition 10 Years MORE Edition Simbach am Inn July 2001, Length: 3514 The CD Fragments explores the limits and possibilities of playing the electric guitar. The sound and noise spectrum is explored without further damping, feedback, or preparations. These resources are combined with the following parameters: rhythm, tone colour, tempo, modulation, and volume. The result is a musical ambience characterised by playful improvisations appearing in the course of time or spontaneously. There are conceptual structures in the sense of ideas in sound. The sound of the guitar is made dense through layers of tone, it is lengthened, repeated, suppressed and/or amplified as if we working on a sculpture or on single thought just developing thus gradually obtaining shape. 2001 Germany 216 Dodo Schielein 1967 3796 images/spacer.jpg Soundart teamwork Soundart teamwork schwebungen with Susanne Reizlein at the Galerie of the Künstlerhauses Hamburg-Bergedorf, 2008 Germany 216 Dodo Schielein 1967 3797 images/spacer.jpg Soundart teamwork with Susanne Reizlein 2007 Germany 216 Dodo Schielein 1967 3798 images/spacer.jpg Solo for Guitar Amplifier 2007 Germany 216 Dodo Schielein 1967 3799 images/spacer.jpg katarakt member from and to? 2005 Germany 211 Nobert Walter Peters 1953 3808 images/works/Peters-1999-Vasi.jpg Vasí-on Pavilion in the park of the palace (6 mono tape recorders, 6 endless tapes, alga dust, gold-acryl, blue chalk, ochre-pigment/spittle) Accessed 21.04.2008 from Der graziöse Pavillon im Schlosspark, das ehemalige Fischhaus, ein leerer, lichter, quadratischer Raum wird auf vier Seiten von einfachen Kassettenrekordern, in denen jeweils ein Endlosband läuft, beschallt. peters_statue Am Marienbild im Park ist ein zusätzlicher Kassettenrekorder installiert. Die fünf Klangquellen stehen für fünf Themen oder Charaktere also der Mond für das Magische, die Venus für das Feminine, Merkur für das Androgyne, der Wandlungsaspekt für das Vergängliche und der fruchtbare Aspekt wird am Marienbild verhandelt. Partituren: peters2 Bild vergrössern Aus der Analyse des 11. Nocturne von Chopin ergeben sich die Zahlen für die skulpturale Disposition der Arbeit. peter1 Bild vergrössern Im Zentrum eines Fünfecks wird, sozusagen als Energiezentrum, ein Kreis ermittelt. Aus den Kassettenrekordern kommt jeweils ein leiser, ‘vierstimmiger’ Klang, der sich unmerklich mit den Eigengeräuschen des Pavillons mischt. Neben diesen offensichtlichen Parametern gibt es noch eine verborgene (esoterische) Seite, die der Installation zusätzliche Energien liefert. Hörbeispiel Hörbeispiel Norbert Walter Peters im Interview Norbert Walter Peters im Interview Accessed 21.04.2008 from 1999 Germany 211 Nobert Walter Peters 1953 3809 images/works/Peters-1993-Injunktion.jpg Injunktion 12 mono tape recorders, 12 endless tapes, alga dust, compost dust) 1993 Germany 211 Nobert Walter Peters 1953 3811 images/works/Peters-2005-songe_im_par.jpg beau – une féerie de paysage Imaginary Score #17 (121 x 119 mm) 2005 Germany 211 Nobert Walter Peters 1953 3812 images/works/Peters-1998-Mae.jpg MaeTavoLik 1998 Germany 127 Pauline Oliveros 1932 3816 images/works/Oliveros-1991-Concert.jpg Concert for Voice and Accordion Symosium Gefährlich leben, Das Experimentelle in Kunst und Wissenschaft organised by Kunstverein Giannozzo , Berlin on the Telegraphenberg, Potsdam June, 21st until 23rd 1991. Accessed 24.04.2008 from 1991 Germany 244 Martin Riches 1953 3822 images/spacer.jpg Motor Mouth Mechanicial Speech synthesisier, can count from 1 - 10 in English and German, say how are you and i Love You. About the size of a small suitcase. motor 1995 Germany 244 Martin Riches 1953 3823 images/spacer.jpg Flute Playing Machine One of the oldest items in my Riches file is a photograph of me and Martin in 1983 standing behind the Flute Playing Machine, with one of my Reversibles passing through the instrument. This was our first collaboration, and one of our most successful, and it continues to be on the program almost every time Martin shows the Flute Playing Machine. The Reversibles are written on transparent acetate sheets, and are read by the instrument’s photo-electric eye. The black markings on the transparent sheets trigger off messages describing when to pass air from the little wind chest up to the carefully engineered mouthpiece of the robotic flute, and when to activate the metal fingers. Each of the eight sheets passes through the machine forward and backward, then turned over, forward and backward again, producing four very short related pieces. Musicians learn very early that you can run a melody in four directions. In counterpoint classes they call this the original, the inversion, the retrograde, and the retrograde inversion, and they show you how J.S.Bach often turned his melodies upside-down or backwards or both. Composers of 12-tone music habitually turned their rows in all four directions, and in fact, this is a pretty common technique in many kinds of music. All of this flipping becomes quite different with the Flute Playing Machine though, because here the manipulation is so visible. When Martin shuts off the motor, shifts his machine into reverse gear, and sends the acetate sheet back in the other direction, you can see, as well as hear, that the music is the reverse of what you just heard. Then, when he takes the sheet out of the reader and turns it over, it is obvious that it can run back and forth under the photo cells once again and produce two more variations of the same music. In Paris, when I play a recording of the Reversibles, without the presence of the machine, listeners hear that the four 30-second movements are related, but they never really grasp the geometry of the music the way they do when they can actually see what is happening. The Flute Playing Machine is not simply a way of producing this music, it is an integral part of the music. As with all the most successful collaborations, one can not separate the contributions of the collaborators without losing something important. Accessed 16.05.2008 from 1983 Germany 244 Martin Riches 1953 3824 images/spacer.jpg 24 Piece Percussion Installation wood blocks were spread out in a line some 30 meters long, and the music often passed down the line with the speed of a fast train. Even Rossini’s music never moved quite that fast. Much could be said about this installation, about how it can be set up in different spaces, about the music itself, and about how listeners react, but what seems most important still today is simply the way it works. What most surprised me when I arrived in Berlin for the first presentation of this piece was not what I saw but what I did not see. There was nothing to read a punched tape, like with player pianos, nothing to wind up, like with music-box systems, and no computer in sight. All I could see was a power cord going into a small transparent box. Eight buttons were mounted on top of the box, enabling the listener to select which of the eight pieces they wanted to hear, and at the side there was a little on-off switch, and that was all. How did the wood blocks know when to knock? Getting programs to run at the speed you wanted was still a problem in the 80s, when Martin began programming music for his machines, so he learned the Assembler language, which kept the logic close to the machine level and optimized the speed. You can run such programs on a small old Atari, but even this was not necessary, because the program had been burned into a chip, which is to say it was hard wired. All the logic necessary was right there on the chip, so the computer could be eliminated. I suppose I should not have been surprised. By this time one could already find lots of information programmed onto plastic cards, and everything necessary to play “Happy Birthday” right there on your birthday card, so it was obvious that small specialized micro-circuits could be programmed without having a whole computer, but I had never seen an artist work in this way. Martin’s solution was most elegant: no computer to be broken or stolen, and the installation was completely self-contained, controlled only by its own customized brain. Accessed 16.05.2008 from 1994 Germany 244 Martin Riches 1953 3825 images/spacer.jpg Do it Yourself Here eight tubular bells, each with a little blinking light, become an instrument anyone can play. All you do is tap the right tubular bell just at the moment when its light goes on. For this situation I wrote a melody consisting of eight notes, corresponding to the eight bells, played in order from left to right. The melody is 24 beats long, so if a second player begins on beat 9, and a third player begins on beat 17, the result is a canon in which one hears one bell on each of the 24 beats. If you have enough players you can thicken the texture into a 6-voice or 9-voice canon. Accessed 16.05.2008 from tubular bells anf lights 1999 Germany 228 Paul DeMarinis 1954 3831 images/works/Demarinis-2006-Retitled.jpg re-Titled site-specific installation in a bridge tunnel over the Rhine. A series of 28 sound-sensitive lights responds to the acoustic pressure waves reverbrating in the tunnel to display sound as light and shadow in motion. 2006 Germany 228 Paul DeMarinis 1954 3838 images/works/Demarinis-2002-According.jpg According to Scripture Sounds from before the age of the recording. An installation of large digital prints of sound traces made before the invention of the phonograph, accompanied by sound samples derived from these graphic traces by computer processing of line images into sound files. Large Digital Prints 2002 Germany 188 Rolf Julius 1939 3851 images/spacer.jpg Cellostuck with Michael Moser 2002 Germany 209 Andreas Oldorp 1959 3854 images/works/Oldorp-1987-Basso.jpg Basso continuo Dieses Konzert fand am 26. Juni 1987 in der Hochschule für bildende Künste, Hamburg statt. In einem ca. 60 qm grossen Raum stand eine 2,50 m hohe Holzorgelpfeife, von einem einfachen Metallgestell gehalten. Sie bildete das Zentrum des ansonsten freien Aktionsfeldes. Ein Orgelgebläse und eine Gasflasche, befanden sich im Publikumsbereich an einer Wand. Das Konzert begann damit, dass das Gebläse eingeschaltet wurde und das Dis der Pfeife den Raum füllte. Der von dem schlanken Körper ausgehende tiefe Klang blieb zunächst für einige Minuten unverändert und konzentrierte die Atmosphäre. Dann wurde die für diesen Zweck mit Gasleitungen in den Holzwänden präparierte Pfeife am oberen Ende angezündet. Das Abbrennen des Pfeifenkörpers von oben nach unten hatte eine Verkürzung der klangbestimmenden Luftsäule zur Folge und damit eine Klangentwicklung in immer höhere Lagen der Tonskala bis zum Ersterben des Klanges. 1987 Germany 209 Andreas Oldorp 1959 3855 images/works/Oldorp-1988-Singende.jpg Singende Flammen In einem Röhrenbunker unter dem Hans-Albers-Platz in Hamburg (Nähe Reeperbahn) habe ich über neun Monate die Klanginstallation Singende Flammen erarbeitet. Der 53 m lange Tunnel ist 2,20 m hoch und etwa genauso breit. An einer seiner Längswände habe ich ein Leitungssystem mit neun Gasbrennern installiert. Die Singenden Flammen sind speziell für diese Raumsituation entwickelte Klangquellen, deren Flammen in Glasröhren brennen und neben kerzenhellem Licht deutlich hörbare Klänge erzeugen. Sie erschließen dadurch den Raum gleichzeitig sowohl optisch als auch akustisch. Die Anordnung der Brenner setzte ich entsprechend der dreigeteilten Struktur des Raumes. Alle Glasröhren hatten die gleiche Länge. Durch unterschiedliche Durchmesser war es möglich, die Klänge so abzustimmen, daß sie gegenseitig Obertöne verstärkten oder Interferenzen bildeten. In langfristigen Studien vor Ort entstand so eine AKUSTISCHE INNENARCHITEKTUR. Der Raum war von einem gleichzeitigen Nebeneinander vielfältiger Klangsphären erfüllt, die das Material für KOMPOSITIONEN boten, die sich der Hörende entsprechend seiner Bewegungen im Raum individuell zusammenstellen konnte. Folgt man dem Gedanken einer Zergliederbarkeit von Musik in Klang und Rhythmus, so wurde der in dem Bunker geschaffene Klangraum in der Bewegung der Rezipienten durch deren Bewußtsein und sinnliches Empfinden in KOMPOSITIONEN minimalistischen Stils überführt. 1988 Germany 209 Andreas Oldorp 1959 3856 images/works/Oldorp-1993-Ad.jpg ad... Die Klanginstallation ad... wurde in und mit den Räumen des WESTWERKs, einem Ausstellungsort in Hamburg, entwickelt und realisiert. Nach akustischen Studien mit mobilen Klangquellen entstand ein Konzept, das den architektonischen Vorgaben (zwei Ausstellungsräume, die durch eine Tür verbunden sind) folgend, zwei ihrem Charakter nach deutlich unterschiedliche aaaber miteinander korrespondierende Klangsphären vorsah. Im vorderen, größeren Raum habe ich an einer Wand fünf Brenner installiert, von denen die Elemente eines pentatonischen Akkordes ausgingen, die sich an den gegenüberliegenden Wänden, in Nischen und an Säulen brachen und in ihrer schwingenden Bewegtheit ein harmonisches, entfernt glocken- ähnliches Klanggewebe aufbauten. Der kleinere und in seiner Materialanmutung recht verschiedene zweite Raum führte mich zu einer formalen Zusammenfassung der vier Klangquellen auf einem Sockel. Der Klang wurde hier als Cluster mit starken Interferenzschwingungen, Schwebungen und Obertönen intoniert. Assistenz: Jürgen Heer 1993 Germany 209 Andreas Oldorp 1959 3857 images/works/Oldorp-1993-Panta.jpg panta rhei Stereo-Monoton und Triptychon Um akustisch die Energie aufzubringen, die 1/4 Liter Wasser von 20° auf 100° erwärmt, müßte man 130 Jahre ununterbrochen reden. Handbuch der Orgelkunde 1993 Germany 209 Andreas Oldorp 1959 3858 images/works/Oldorp-1993-Con.jpg con spirito Wegen der sehr kurzen Einrichtungszeit und weil ich nur eine sehr begrenzte Anzahl vorgefertigter Glasrohre also Klänge zur Verfügung hatte, war es nötig einen besonders flexiblen Aufbau zu entwickeln. Die 30 cm x 30 cm großen Sockel waren im Ausstellungsraum vorhanden und ich habe meine Brennerstative so gebaut, dass sie auf den umgekehrten Sockeln standen und die Gasflaschen darin ihren Platz fanden. So war es möglich, die Position der Klangquellen zu verschieben, bis ich nach und nach eine stimmige Klangabfolge durch die Räume finden konnte. 1993 Germany 209 Andreas Oldorp 1959 3859 images/works/Oldorp-1994-Quinte.jpg Le temps perdu und Quinte Eine Villa stand vor ihrer Renovierung für ein Ausstellungsprojekt zur Verfügung. Sehr reizvoll war an diesem Ort, dass er deutliche Spuren noch kaum vergangener Nutzung aufwies. Ich habe eine Zimmerflucht bearbeitet in der sehr helle Farbtöne vorherrschten. Um der Leichtigkeit der Atmosphäre zu entsprechen habe ich ein Luftleitungssystem aus Glas gebaut. Die Verbindungsmuffen aus Kupfer habe ich versilbern lassen, um den optischen Fluß der Leitungen so wenig wie möglich zu stören. Der Klang war extrem hoch. Ich habe Pfeifen mit Körperlängen um 10 mm eingesetzt, um eine flirrende Stimmung zu erzeugen, wie sie im Film gerne genutzt wird, um sehr heiße Westernszenen zu charakterisieren. In einem anderen Raum schaffte der Zweiklang der Quinte (die eigentlich in einer Terz klingt) ein entspanntes Pendant mit weitem Blick über die Alster. 1994 Germany 209 Andreas Oldorp 1959 3860 images/works/Oldorp-1994-Ohne.jpg Ohne Titel Im Rahmen der Stipendiatenausstellung habe ich ein fragiles Glasleitungssystem frei in die Ausstellungshalle K3 hineingebaut, durch das ich die Luft für ein Spalier sehr hoch klingender Orgelpfeifen geleitet habe. Gleichzeit entstand ein skulpturaler Ort und ein Weg durch eine sehr zarte gläserne Raumzeichnung. Dank an Georg Krefeld 1994 Germany 209 Andreas Oldorp 1959 3864 images/works/Oldorp-1995-Hirschgang.jpg HIRSCHGANG Im HIRSCHGANG habe ich eine Folge von 7 Singenden Flammen gesetzt. Sehr reizvoll war die Aufgabe, jeweils dem vor Ohren stehenden Klang ein Klangumfeld zu entwickeln, dass ihn nicht jeweils nur als zentral und dominant erscheinen ließ. Das horchende Abschreiten führte in immer wieder anders charakterisierte Klangfelder. Begleitet wurde dieser Gang durch die den Raum zeichnungshaft akzentuierende Setzung der Installation. 1995 Germany 209 Andreas Oldorp 1959 3865 images/works/Oldorp-1996-Versuch.jpg Versuch der Rekonstruktion einer Zeit 1996 Germany 209 Andreas Oldorp 1959 3866 images/works/Oldorp-1996-OneOfUs.jpg One of us cannot be wrong Zwei freistehende Stative halten einen Zweiklang. Der wird für jede Raumsituation wieder neu gefunden. Bisher wurde one of us cannot be wrong an fünf Orten eingerichtet: 1996 im Podewil, Berlin 1997 im Heidelberger Kunstverein im Rahmen der Ausstellung KLANGBILDER 1998 im Rahmen der Ausstellung Igitur zum 100. Todestag von Mallarmé, Sæd / Dänemark 1999 in der Agentur für Zeitgenössische Kunst, Hamburg 2000 im Göteborgs Konstförening / Schweden 1996 Germany 209 Andreas Oldorp 1959 3867 images/works/Oldorp-1997-RubOut.jpg ... to rub out the word. Wenn es so etwas wie die Magie des Ortes gibt, dann macht Andreas Oldörp sie durch seine Klang-Installationen sinnlich erfahrbar. ... Ausgangspunkt und Ziel von Oldörps Arbeiten ist jener unserer Sinne, der am tiefsten in der menschlichen Genese verwurzelt ist - das Hören. Das erklärt die außerordentliche Eigenart seiner Kunstwerke, buchstäblich jedem Besucher unmittelbar zugänglich zu sein: im Ausstellungsraum verteilte Quellen konstanter Klänge schaffen eine AKUSTISCHE INNENARCHITEKTUR, deren Wahrnehmung sich mit jedem Schritt, manchmal schon beim Drehen des Kopfes, verändert. ... In Lübeck wird er fünf " installieren - meterhohe maß-gezogene Glasröhren, in denen mittels eigens gefertigter Brenner Gasflammen brennen. Die so erzeugte Zündfrequenz bringt die Luftsäule zum Schwingen: ein Ton erklingt. Die hochpräzisen Leitungs- und Trägersysteme aus Metall und die transparenten Glaskörper verleihen Oldörps Arbeiten eine visuelle Gestalt von linienhafter Klarheit. Der gänzlich weißgetünchte, sakrale Raum von St. Petri betont besonders die Reduktion und die meditativen Qualitäten von Oldörps Arbeit. ... Andreas Langen (aus dem Pressetext) 1997 Germany 209 Andreas Oldorp 1959 3868 images/works/Oldorp-1997-Anfang.jpg Am Anfang war nicht das Wort, sondern ein Zwitschern mit Henning Christiansen 1997 Germany 209 Andreas Oldorp 1959 3869 images/works/Oldorp-1997-Arbeit.jpg Arbeit mit Lager Der Große Wasserspeicher am Prenzlauer Berg ist eine in vier konzentrischen Gängen angelegte Zisterne mit ca. 20 Sekunden Nachhallzeit. Nur vier Singende Flammen reichten hier aus, um eine sehr groß Klangdichte zu erzeugen. Besonderheit dieses Ortes war, dass man über weite Wege durch sehr intensive Klangfelder flanierte, die Klangquellen aber nur aus wenigen Perspektiven sichtbar wurden. Assistenz: Jürgen Heer 1997 Germany 209 Andreas Oldorp 1959 3871 images/works/Oldorp-1998-Zwei.jpg Zwei Klanginstallationen für Parochial Mit zwei Installationen von Andreas Oldörp eröffnete am Donnerstag die singuhr hörgalerie in parochial ihre dritte Saison. ... Seit 1996 werden im Glockenraum der Parochialkirche regelmäßig Klanginstallationen vorgestellt. Diesmal wird der imposante Hauptraum mit einbezogen. Der Hamburger Andreas Oldörp hängt vier sogenannte " " an die Träger der zentralen Kuppel des Hauptraums der Kirche. Mit Wasserstoff betriebene Gasflammen brennen in einer Glasröhre, durch deren Länge und Durchmesser Klangfarbe und Tonhöhe des orgelähnlichen Klangs bestimmt werden. Das Hörereignis basiert auf einem Grundton und seiner Quinte, wobei jeweils minimal kürzere Rohre gegenübergehängt sind, so daß sich ihre Schwebungen kreuzen. Im Glockenraum installierte Oldörp ein mit Luft betriebenes Orgelpfeifenfries, das einen kontinuierlichen hohen Ton erzeugt. Umherwandelnd können die Besucher Wechselwirkungen zwischen Raum und Klang erkunden. Zwei Konzerte werden die Installation mit Improvisationen verbinden: Am 21. Mai spielt Werner Durand an experimentellen Blasinstrumenten, am 7. Juni agieren Poul Næs am Kontrabaß und Claudius von Wrochem am Violoncello. Beginn jeweils 20.30 Uhr. (Sebastian Werr in der Berliner Zeitung vom 18.5.1998) Assistenz: Jürgen Heer 1998 Germany 209 Andreas Oldorp 1959 3872 images/works/Oldorp-1998-Grosses.jpg großes Weiß 1998 Germany 209 Andreas Oldorp 1959 3873 images/works/Oldorp-1998-Von_Raum.jpg Vom Raum zum Ort 1998 Germany 209 Andreas Oldorp 1959 3875 images/works/Oldorp-1999-Veer.jpg Veer (für meine Brüder) ... Andreas Oldörp flieht daher mit seiner Klanginstallation Veer (für meine Brüder) das Erdgeschoß und plaziert vier Orgel- pfeifen an den gitterförmig durchbrochenen Brüstungen der Umgänge. Im zweiten Stock läuft ein röhrenförmiger gläserner Windkasten entlang, von dem ebenfalls gläserne Zuleitungen zu den chromglänzenden Pfeifen abzweigen. Diese scheinen alle die gleiche Länge zu haben und reichen vom zweiten Stock zum dritten oder vom dritten Stock zum vierten, wo ihr Korpus etwa mit der Balustrade abschließt. Das Gebläse ist versteckt und lautlos, der Klang ist es beinahe ebenfalls. Nur bei großer Ruhe erschließt sich dem Hörer die in der Oktave verdoppelte, leicht verstimmte Mollterz. ..." ( Assistenz: Jürgen Heer 1999 Germany 209 Andreas Oldorp 1959 3876 images/works/Oldorp-1999-Zusammen.jpg Zusammenspiel Gegenstand dieser gemeinsam mit Hans Roth über mehrere Jahre entwickelten Ausstellung war die Untersuchung der puren Wirksamkeit von monochrom gesetzten Farben und monoton eingerichteten Klängen. Die Größe der Ausstellungshalle K3 ermöglichte das Flanieren durch immer neue Farbperspektiven begleitet von den Veränderungen meiner von 5 Singenden Flammen getragenen Akustischen Architektur. Die Ausstellung konnte aufgrund der sehr kostenintensiven Bearbeitung der Wände leider erst realisiert werden, als Hans bereits sehr krank war. Peter Afken, ein gemeinsamer Freund mit großer künstlerischer Kompetenz und beispielhaftem Einfühlungsvermögen, hat die Umsetzung der Farb-Raum-Gestaltungsentwürfe von Hans zu einem eindrucksvollen Ergebnis geführt. Künstlerische Mitarbeit: Peter Afken Assistenz: Jürgen Heer, Philip Jacobs 1999 Germany 209 Andreas Oldorp 1959 3878 images/works/Oldorp-2000-Wittener.jpg Wittener Aggregat Für das Wittener Aggregat - Oldörps bislang zweite Arbeit im Außenraum nach " (1998, Pezinok, Slovakei) - setzt Oldörp fünf zwischen sechs und neun Meter hohe Klangquellen in der Parkanlage zwischen Haus Witten und dem Saalbau. Es sind speziell für diesen Ort entwickelte Konstruktionen, die auf dem Prinzip der Orgelpfeife beruhen. Über ein unterirdisches Leitungssystems versorgt ein Gebläse sie mit einem konstanten Luftstrom. Die Pfeifenfüße sind wie die aufgesetzten Pfeifenkörper aus Kupfer gefertigt. Solche visuellen Aspekte bilden in Oldörps Arbeiten einen zweiten, gleich gewichtigen Schwerpunkt. Die Plazierung der Klangquellen rechts und links des Fußweges folgt einer räumlichen Dramaturgie: mehr oder weniger große Entfernung vom Weg sowie die Hanglage werden durch unterschiedliche Pfeifengrößen unterstrichen, Blickachsen des Parks durch Klangquellen betont. Von keinem Punkt des Parkes aus wird man alle Klangquellen überblicken können. Vielmehr stellen sich immer wieder andere, die räumliche Situation akzentuierende Teilansichten ein. (aus dem Begleittext von Markus Steffens) Assistenz: Peter Afken, Jürgen Heer, Philip Jacobs 2000 Germany 209 Andreas Oldorp 1959 3883 images/works/Oldorp-2001-Uber.jpg Über den Teichen Bei ersten akustischen Recherchen im Tal hat sich der Standort am Hang als besonders geeignet erwiesen, weil von dort durch Setzung einer gebündelten Klangquelle ohne besondere Lautstärke das gesamte Tal bespielt werden kann. Als Klangerzeuger sind 7 speziell entwickelte Pfeifen nach dem Konstruktionsprinzip der Orgelpfeife aus Kupfer gebaut worden. Die einzelnen Pfeifen bestehen aus einem 6,5 Meter langen Fuß' s Cu-Rohr (Ø 89,9mm x 2mm), das mindestens 1,5 Meter im Erdreich und in voller Länge innen mit Stahlrohr verstärkt ist. Im Laufe der Zeit hat die Patinierung den visuellen Anteil der Skulptur immer weiter zurückgenommen. Die besonderen Voraussetzungen des Tales erlauben eine sehr verhaltene Intonation. Dem Wanderer teilt sich der Klang über weite Strecken zunächst eher als Idee und Ahnung mit, bis am Fuße der Pfeifengruppe konkrete Bezüge deutlich werden. Das Klangereignis verändert sich in den verschiedenen Jahres- zeiten, bei unterschiedlichen Wettern, tagsüber und nachts. Assistenz: Peter Afken, Jürgen Heer, Philip Jacobs, Moritz Wiedemann, Johannes Matern Besonderer Dank an Dr. Hartwig Baier und Karl-Heinz Zinkann 2001 Germany 209 Andreas Oldorp 1959 3884 images/works/Oldorp-2001-Chance.jpg The certainty of chance Der visuelle Anteil dieser Installation besteht aus 4 Singenden Flammen, die auf dem Balkon über dem Eingangsbereich der Synagoge hängend installiert sein werden. Die Singenden Flammen sind mit Wasserstoff gespeiste Flammen, die in einem Glasrohr brennen und dessen Luftsäule zum Schwingen anregen können. Der Klang ist - wie bei Orgelpfeifen - durch Länge und Durchmesser des Rohres bestimmt. In dieser Installation werden die Rohre zwischen 3,10 Meter und 1,60 Meter lang sein. Von dem Balkon aus wird der gesamte Raum mit einer andauern klingenden Akustischen Architektur differenziert gestaltet, sodaß der Besucher sich in einem gestimmten, ansonsten leeren Raum befindet. Assistenz: Philip Jacobs Besonderer Dank an Telse und Hartmut Charlé 2001 Germany 209 Andreas Oldorp 1959 3885 images/works/Oldorp-2001-Fidelity.jpg High Fidelity High Fidelity ist der besonderen Struktur des Schloßparkes eingeschrieben. Ein Teich mit zwei etwas voneinander entfernt liegenden Inseln, Wege, die den Flaneur mal näher mal in Entfernung zum See geleiten; eine ideale Voraussetzung, um jeder der Inseln eine komplexe Klangstruktur zuzuordnen, die sich - je nach Hörort etwas anders - aufeinander richten. Die Klangquellen, für den Außenraum entwickelte OrgelPfeifen, erlauben dabei Wind und Wetter in einem gewissen Rahmen den 's erischen' Einfluß auf das Klanggewebe. Das Konzert, d.h. die Rückführung dieser Klänge in eine zeitliche Struktur wird zu einem individuellen Akt, der bestimmt ist von der Dynamik des Besuchers. Assistenz: Peter Afken, Jürgen Heer 2001 Germany 209 Andreas Oldorp 1959 3887 images/works/Oldorp-2002-Tre.jpg Tre Archi_zwei Arbeiten mit Klang Für Lichthof und Gewölbekeller des Badischen Kunstvereins entwickelt Andreas Oldörp mit Tre Archi zwei Klanginstallationen, deren Klanganteile er, wie für seine Arbeit typisch, natürlich, d.h. nicht elektronisch erzeugt. Im Lichthof wird er mit Singenden Flammen, das sind Gas- flammen, die in Glasrohren brennend Klänge entstehen lassen, eine Akustische Architektur aufbauen. Als pendant dazu entsteht im Gewölbekeller eine eher musikalisch anmutende Installation. Hier führt Oldörp Wasserdampf über Schlauchleitungen in speziell gefertigte Orgelpfeifen, die sehr feine Druckschwankungen klanglich umsetzen können. Als dritten, eigenständigen Teil dieses Ausstellungsprojektes macht der Künstler Erik Steinbrecher ein Buch über die Arbeiten von Andreas Oldörp. (aus dem Pressetext) Assistenz: Peter Afken 2002 Germany 209 Andreas Oldorp 1959 3888 images/works/Oldorp-2002-Trost.jpg Trost für Anfänger An vier Positionen im St.-Johanner-Markt-Raum werden bei Steckdosen Metallkonsolen an die Wand montiert. Sie halten Heizspiralen, die 4 Liter-Dreihalskolben aufheizen. Die Glühdrähte bringen das Wasser zum Kochen, und der Dampf wird über Silikonschlauch-Leitungen zu je zwei Orgelpfeifen geführt. Das auf dem Weg kondensierte zurückfließende Wasser bildet am Verteilerstutzen ein Wasserventil, das den Weg des Dampfes regelt und die Dynamik der Ansprache steuert. Die Installation benötigt für einen Ausstellungstag ca. 3 Liter Leitungswasser pro Kolben. Sie sollen täglich frisch befüllt und gereinigt werden, um Kalkablagerungen zu vermeiden. Die speziell für diese Installation gefertigten Pfeifen setzen auch geringe Druckschwankungen in vielfältig verschiedene Klänge um. Bei der Intonation wird ein im Raum gleichmäßig verteilter Chorklang angestrebt. (aus dem Konzept) Henning Christiansen gewidmet 2002 Germany 209 Andreas Oldorp 1959 3890 images/works/Oldorp-2002-Klangmobel.jpg Klangmöbel Konzept für die Umnutzung von Gebrauchsmöbeln Nachdem ich über Jahre ausdrücklich ortsbezogene Klang- architekturen entwickelt habe, ergab sich auf dem Umweg über den Außenraum die Beschäftigung mit Klang' len', d.h. mit andauernden Klängen, die ihren eigenen Raum aus einem Zentrum heraus definieren. In ironischer Bezugnahme auf den Begriff der " ent" bei Erik Satie entstand ein Konzept für Klang- möbel, von denen das Heimatlied die erste Umsetzung ist. Es geht dabei um die Umnutzung von vertrauten Möbelstücken, die ihre ursprüngliche Funktion verlieren, um möglichst am gewohnten Ort Ausgangspunkte für andauernd präsente leichte Klanggewebe zu werden, die mit verschiedenen Kontexten verschmelzen können und sie klanglich einfärben. Das Heimatlied besteht aus einem recht üblichen alten Nacht- schrank mit Eichenfunier und einer Marmordeckplatte. Als weitere Objekte in dieser Reihe habe ich 2005 ein Küchentisch und ein Stahlschrank bearbeitet. Die Anordnung der Pfeifen auf dem Tisch erinnert an eine Platzgestaltung. Der Spind erlaubt durch die bewegliche Tür eine Manipulation der Klangentfaltung und Lautstärke, lässt die Klangursache aber im Dunklen. Alle Arbeiten sind akustisch miteinander kompatibel. Diese Reihe führe ich weiter. Ausgangspunkt jeder Arbeit ist ein glücklich gefundenes Möbelstück. 2002 Germany 209 Andreas Oldorp 1959 3891 images/works/Oldorp-2002-Profondis.jpg de profundis Für den Ausstellungsraum und den Gewölbekeller des Voxxx entwickelt Oldörp mit de profundis zwei Klanginstallationen, deren Klanganteile er, wie für seine Arbeit typisch, natürlich, d.h. nicht elektronisch erzeugt. Im oberen Ausstellungsraum wird er mit Singenden Flammen, das sind Gasflammen, die in Glasrohren brennend Klänge entstehen lassen, eine Akustische Architektur aufbauen. Die besondere Qualität der Singenden Flammen, von denen Oldörp drei auf den Raum abstimmt, wurde von Henry Dunant im 19. Jahrhundert als ... zugleich süß, kräftig, geschmackvoll und leuchtend, rund, rein und voll ..." Als pendant dazu entsteht im Gewölbekeller eine eher musikalisch anmutende Installation. Hier führt Oldörp Wasserdampf über Schlauchleitungen in speziell gefertigte Orgelpfeifen, die sehr feine Druckschwankungen klanglich umsetzen können. Die sich immer wieder anders entwickelnden Klangfolgen wecken Assoziationen von improvisierter Jazzmusik und Ethno, dann aber auch wieder Vogelgezwitscher oder entferntes Gerede. Oldörp bezeichnet diesen Bereich seiner künstlerischen Recherchen als Langzeit- zufallskompositionen. (aus dem Pressetext) Assistenz: Jürgen Heer, Anja Henningsmeyer 2003 Germany 209 Andreas Oldorp 1959 3894 images/works/Oldorp-2004-Dawn.jpg dawn blossoms ... dawn blossoms ... ist eine Licht- und Klanginstallation, die in den Kellergewölben der Lindenbrauerei ausgestellt wird. Oldörp arbeitet mit Wärme, Wasser und Orgelpfeifen. Fünf speziell für diesen Zweck gefertigte Glühdrähte, die zugleich auch die Lichtquellen im Raum bilden, bringen Wasser zum Verdampfen, das wiederum die Orgelpfeifen im Gewölbe zum Klingen bringt. dawn blossoms ... ist eine musikalisch anmutende Installation. Die sich immer wieder anders entwickelnden Klangfolgen erinnern an improvisierte Jazzmusik, dann aber auch wieder an lebhaftes Vogelzwitschern oder entferntes Gerede. Oldörp selbst bezeichnet diese Kunstwerke als Langzeitzufallskomposition. Die einzelnen Elemente der Installation und somit auch die einzelnen Tonnengewölbe des Kellers scheinen miteinander zu kommunizieren. 2004 Germany 209 Andreas Oldorp 1959 3895 images/works/Oldorp-2005-5orte.jpg 5ORTE Fünf Klanginstallationen in der Altstadt von Heidelberg Der Heidelberger Kunstverein tritt in zweijährlichem Turnus, diesmal vom März bis Mai 2005, seine angestammten Räume an das angrenzende Museum ab. Er verlagert in dieser Zeit seine Ausstellungsaktivität an die titelgebenden 5ORTE, die jeder mit eigenem Charakter und Hintergrund aufwarten. Andreas Oldörps Werke machen aus diesen Orten gestimmte Räume. Er schafft Orte ästhetischer Verdichtetheit. Oldörp kommt dabei mit zum Teil minimalen optischen Setzungen aus. Sie dienen der visuellen Initiation des Betrachters in seine akustischen Architekturen. Diese Architekturen werden im Wesentlichen von dauerhaft betriebenen, natürlichen Klangquellen getragen. Assistenz: Philip Jacobs 2005 Germany 209 Andreas Oldorp 1959 3898 images/spacer.jpg Lotos (Julius gewidmet) 2008 Germany 209 Andreas Oldorp 1959 3899 images/works/Oldorp-2008-Seestuck.jpg Seestück 2008 Germany 209 Andreas Oldorp 1959 3901 images/works/Oldorp-2007-Anderen-Flensburger.jpg Die anderen / Flensburger Aggregat 2007 Germany 209 Andreas Oldorp 1959 3902 images/works/Oldorp-2006-Grose.jpg Große Bergstaße 173 Große Bergstaße 173 ist eine Arbeit über die Zeit. Das Haus der ehemaligen Bäckerei Lienau, die der Anlaß dieser Ausschreibung war, hat sich im Laufe der Zeit deutlich verändert. Das Haus Nr. 173 ist ein typisches Beispiel für den Wandel der Großen Bergstaße über das letzte Jahrhundert. Mein Konzept thematisiert diese Veränderung. Das historische Erscheinungbild des Hauses wurde detailliert recherchiert, in Granit gehauen und auf einem Sockel exponiert. Von hier aus kann die Skulptur den "Dial mit ihrer heutigen Entsprechung aufnehmen. Die Skulptur befindet sich in Sichtweite der Nr. 173 und bietet so die Möglichkeit des wiedererkennenden Entdeckens und einen Anlaß für Passanten zur Vergegenwärtigung des Wandels. Um ihre aktuelle Präsenz zu betonen, ist die Skulptur erleuchtet und man hört leise einen Radiosender. Assistenz: Robert Schröder Besonderer Dank an Prof. Xue Zhong 2006 Germany 209 Andreas Oldorp 1959 3903 images/works/Oldorp-2006-Wie.jpg ... wie die Orgelpfeifen Anlaß für dieses Unterrichtsprojekt war der Besuch des Musik- grundkurses S3 des Helene-Lange-Gymnasiums, Hamburg in meinem Atelier. Die Nähe meiner Arbeit zu minimalistischen Musikkonzepten wurde untersucht und dabei ergaben sich erste ' lereien' mit Orgelpfeifen. Die 'Personalisierung' einzelner Töne zeigte schon bei ersten Experimenten in meinem Atelier so reizvolle Ergebnisse, dass der Fachlehrer Bernd Thiele und ich beschlossen, darauf eine Unterrichtseinheit aufzubauen, mit dem Ziel den Schülern zum einen die Orgel näher zu bringen, zum anderen um die Qualitäten eines einzelnen Tones auszuloten. Das Projekt entwickelte sich über ca. 7 Monate. Neben Raum- klangexperimenten an außerschulischen Orten wie z.B. meinem Atelier und im Alten Elbtunnel und nach einem Besuch in der großen Orgel des Michels, hatten wir die Gelegenheit das Projekt mit einem Konzert abzuschließen. Dank an Bernd Thiele und die ehemaligen Schülern des Musikgrundkurses S4 des Helene-Lange-Gymnasiums, Hamburg für diese sehr besondere Erfahrung. 2006 Germany 209 Andreas Oldorp 1959 3904 images/works/Oldorp-2006-Droon.jpg DRÖÖNBÜDEL plattdeutsch: Bezeichnung für einen nicht gerade flinken, wenig unterhaltsamen Menschen Eine überlange kupferne Orgelpfeife wächst auf dem Kopf stehend vor der Kehrwiederspitze aus dem Wasser. Ihr tiefer Klang, dessen Frequenz von der Luftsäulenlänge ihres Körpers bestimmt wird, verändert sich mit dem Pegelstand. Bei Niedrigwasser erzeugt diese Pfeife einen sehr tiefen Ton, der mit der Flut höher wird und bei einsetzender Ebbe wieder abfällt. Dieser Klang ist schon wegen seiner Tiefe nicht laut und erzeugt aber am Standort eine ruhige, versammelte Atmosphäre. Auf der Kehrwiederspitze steht ein Terminal, das ein 24 Stunden-Zifferblatt zeigt. Mit ihm sind die regelmäßig zu jeder vollen Stunde aufgenommenen Klänge der Orgelpfeife wieder abrufbar. Sie werden von Lautsprechern im Terminal abgestrahlt und bilden mit dem originalen Ton am Standort des Besuchers einen Zweiklang, der die Differenz der Wasserstände akustisch beschreibt. Ein besonderer Reiz dieser Skulptur liegt in der Möglichkeit, die sich auch mit den Wettern dauernd verändernden Klang- verhältnisse vergleichend beobachten zu können. Es entsteht eine Installation mit zweifacher Wirkung: Zum einen wird ein markanter Ort im Hafen geschaffen, der zum Verweilen und beobachtenden Hören einlädt - was gleichzeitig auch die anderen Hafengeräusche wieder ' r Ohren' führt -, zum anderen werden die Tide und die mit ihr verbundenen Prozesse im Hafen thematisiert. 2006 Germany 209 Andreas Oldorp 1959 3905 images/spacer.jpg ABSEITS Die Installation in der Johanneskirche besteht aus zwei 6 Meter hohen Metallstativen, an denen schlanke Glasrohre befestigt sind. Am Fuß der Stative steht je eine Gasflasche, aus der die im Glasrohr brennenden Singenden Flammen gespeist werden. Die zwei Singenden Flammen sind dialogisch entwickelt. Sie setzen Klangenergien frei, die den Raum neu aufschließen. Der umhergehende Besucher bewegt sich in dem Dialog der konstanten Klänge, zwischen Überlagerungen und Veränderungen. Assistenz: Robert Schröder 2006 Germany 209 Andreas Oldorp 1959 3906 images/works/Oldorp-2006-Zwischenlandung.jpg Zwischenlandung Zwischenlandung ist ein Konzert. Von fünf kleinen Inseln im Stadtparksee aus entwickeln orgel- pfeifenähnliche Klangquellen von Wasserdampf betrieben ihr virtuoses Miteinander. Dabei ist der musikalische Verlauf nur bedingt vorhersehbar. Glühende Heizwendeln erhitzen in gläsernen Dreihalskolben Wasser aus dem See. Diese Energiezentren bilden die Aus- gangspunkte von dampfführenden Schlauchleitungen, in denen vor einem T-Stück durch kondensierendes Wasser ein Ventil entsteht. Der Dampfdruck nimmt hier immer wieder den Weg des geringsten Widerstandes und bläst so die Pfeifen in lebendig vielfältiger Weise an. Der Klang der speziell für diese Spielart entwickelten Pfeifen kann feinste Druckunterschiede abbilden. Umgebungstemperatur, Luftzüge, die abnehmende Wassermenge in den Kolben: all diese Faktoren nehmen Einfluß auf die Klangerzeugung, die Komplexität und Dynamik der " Struktur. Besonderer Dank an Philipp Bänfer 2006 Germany 209 Andreas Oldorp 1959 3907 images/spacer.jpg Your place or mine? In dieser Arbeit korrespondieren die Klangcharakterisierungen von zwei Orten. Zum einen die Hambacher Hütte, in der drei speziell gefertigte Kupferpfeifen miteinander ein zartes Klangfeld in das Tal geben. Zum anderen die sogenannten Kapelle auf einer Anhöhe in der Nähe. Dort sind zwei permanent angeblasene Pfeifen so gehängt, dass die eine im Durchgang den Winden ausgesetzt ist. Dadurch ergeben sich wegen des extrem geringen Systemdrucks permanent Klangveränderungen, die sich auch auf die geschützt hängende Pfeife auswirken. Ausgangspunkt für die Klänge ist jeweils ein kupfernes Leitungssystem, das im Giebel der Gebäude hängt und das an den Enden von Pfeifen abgeschlossen wird, die aus dem gleichen Industriekupferrohr gefertig worden sind. Sie werden mit Lüftern permanent unter Wind gehalten. Assistenz: Ecki Güther 2006 Germany 221 Heinrich Mucken 1982 3911 images/spacer.jpg DOINDEDISCHE 1987 Germany 221 Heinrich Mucken 1982 3912 images/spacer.jpg AINAN ADABAUS 1987 Germany 221 Heinrich Mucken 1982 3913 images/spacer.jpg JAHRESZEITEN Several performances at the 4-parts-landart symposion 1985 Germany 221 Heinrich Mucken 1982 3914 images/spacer.jpg one - two - three 2001 Germany 243 Yufen Qin 1954 3939 images/spacer.jpg DI Dao 1996 Germany 260 Nigel Frayne 1953 3986 images/spacer.jpg Tropical Islands Resort This extraordinary resort has been built under a huge dome structure in the country-side just outside Berlin. The Lagoon, South Sea, Entrance and Tropical Rainforest have all been included into a 24 channel ambient soundscape. 2004 Germany 267 David Worrall 1954 4030 images/spacer.jpg En Passant Marcel Duchamp A computer music/animation collaboration with Christine Ulke 1998 Germany 255 Wolf Vostell 1932 4048 images/works/Wostell-1970-Induction.jpg Induction From the Acoustic Spacs Series 1970 Germany 255 Wolf Vostell 1932 4049 images/works/Wostell-1964-Ulm.jpg In Ulm um Ulm and Ulm herum 1964 Germany 255 Wolf Vostell 1932 4050 images/works/Wostell-1969-Telemetry.jpg Telmetrie (The Acoustic Street) 1969 Germany 235 Stephan von Huene 1932 4051 images/works/Von_Huene-1969-Rosebud.jpg Rosebud Annunciator 1969 Germany 248 William Anastasi 1933 4052 images/works/Anastasi-1977-Music.jpg World's Greatest Music 1977 Germany 2 Bill Fontana 1947 4056 images/works/Fontana-1979-Sound_Recyling_Sculpture.jpg Sound Recyling Sculpture 1979 Germany 25 Dick Higgins 1938 4057 images/works/HIggins-1979-Mechanical_Music.jpg Mechanical Music No.1 1979 Germany 235 Stephan von Huene 1932 4058 images/works/Von_Huene-1979-APT.jpg APT 1979 Germany 188 Rolf Julius 1939 4060 images/works/Julius-1979-Deichlinie.jpg Deichlinie 1979 Germany 212 Mauricio Kagel 1931 4061 images/works/Kagel-1969-Unter_Strom.jpg Unter Strom 1969 Germany 29 Christina Kubisch 1948 4062 images/works/Kubisch-1978-Moving_Music.jpg Moving_Music 1978 Germany 95 Bruce Nauman 1941 4063 images/works/Nauman-1968-6_Day.jpg 6 Day Week 1968 Germany 246 Sarkis 1938 4064 images/works/Sarkis-1974-Tempest.jpg La Drama of the Tempest 1974 Germany 239 Takis 1925 4065 images/works/Takis-1979-Tube.jpg Big Tube 1979 Germany 154 Jean Tinguely 1925 4066 images/works/Tinguley-1979-Meta2.jpg Meta-Harmonie II 1979 Germany 228 Paul DeMarinis 1954 4067 images/works/Demarinis-2002-Fireflies.jpg Fireflies 2002 Germany 78 Bernhard Leitner 1938 4068 images/works/Leitner-2002-Firmament2.jpg Firmament 2 2002 Germany 268 1200 4089 images/works/Schlottheim-1589-Stiftrad_und_Balg_der_Krippe.jpg Schlottheim's Stiftrad und Balg der Krippe - 1589 Germany 268 1200 4083 images/works/Bell_Mechanisms-1650_onwards_Germany.jpg Bell Mechanisms - 1650 Germany 268 1200 4084 images/works/Kaufman-1810-Automatic_Trumpeter_Germany.jpg Kaufman's Automatic Trumpeter - 1810 Germany 268 1200 4088 images/works/Schlottheim-1589-Mathmatical_Physical_salon.jpg Schlottheim's Mathmatical Physical Salon - 1589 Germany 268 1200 4090 images/spacer.jpg Spielmann's Light Organ - 1936 Germany 268 1200 4091 images/works/unknown-1650-Automatic_Organ_with_Figures2.jpg Automatic Organ with Figures - 1650 Germany 268 1200 4092 images/works/unknown-1650-Musical_Figures.jpg Musical Figures - 1650 Germany 268 1200 4093 images/works/unknown-1650-Water_and_Steam_organ.jpg Water and Steam organ - 1650 Germany 268 1200 4094 images/works/unknown-1673-Aolian_Instrument.jpg Aolian Instrument - 1673 Germany 268 1200 4095 images/works/unknown-1870s-Player-German.jpg Player - 1874 Germany 269 J. Milo Taylor 1972 4113 images/works/JMT-2008-Obstruction_Placed-037.jpg Obstruction Placed in the Path of the Artist journey, pathway, route, line, vector, barrier, threshold,boundary, border, territory, ambience, movement, outside, margin, inside, liminal, nature, culture, bleed, environment, architecture, heritage, observation, destination, soundscape, listening, spaces, aesthetic experience, context . . . 2008 Germany 165 Halim El-Dabh 1921 4215 images/spacer.jpg Juxtaposition Hochshule fir Musik Wurzburg- May 21, 1995 Kammermusik Aus Africa I Gabriele Juttner, Durk Semnier, Oliver Trahndorff, Klaus Kutting 1995 Germany 30 Carsten Nicolai 1965 4233 images/works/Nicolai-2004-infinity.jpg and#8734; The project represents an encroachment into the everyday life of the town of Kassel in 1997. Acoustical codes and signs and#8722; cryptic forms of information and#8722; were distributed throughout town. 72 short audio pieces, each lasting 45 seconds, form the audible elements of this work. The sound structures receive their sources or references from signals of telephone, fax, Morse codes and other signals that transmit information. These were emitted in public spaces such as a department store, the airport and railroad station over a period of 100 days. These non-identifiable codes infiltrating everyday life generate interference resulting in a new perception of the surrounding world. Furthermore these sounds were transmitted without prior announcement by the local radio station. As a visual equivalent to the sound graffiti an abstract logo (sign) was also distributed all over town. A stage was installed in a central place (the centre of a spiral ramp of a parking garage) which not only combined all elements, but also served as a performance space during the opening of documenta X for Carsten Nicolai, Mika Vainio, Frank Bretschneider, Olaf Bender and CM von Hauswolff. Accessed 09.06.2009 from sound, stage, sign 1997 Germany 30 Carsten Nicolai 1965 4235 images/works/Nicolai-2002-98_wasser.jpg 98% wasser The jellyfish seems a relatively simple form of life with the vast majority (98%) of its body mass comprised of water. The remaining 2% that constitute the organism however are capable of directing the biological mechanisms of the animal in terms of movement, direction and reproduction. The attraktor (2002) projection presented with this installation is a simplified model of the mechanism of a constantly moving shape that receives its directions from the computations of a predetermined formula. The juxtaposition of these two works demonstrates the impossibility to explain natural systems entirely through complex abstract models. Accessed 09.06.2009 from aquarium, water, aurelia aurita jellyfish 2002 Germany 30 Carsten Nicolai 1965 4236 images/works/Nicolai-xxxx-anti.jpg anti Regular geometric forms represent systematic thinking and the interrelationship between mathematics, optics, art and philosophy. anti is a geometrical form, a distorted cube, truncated on top and bottom to obtain rhombic and triangular faces. It reacts to the magnetic field of bodies, enabling an interaction with the visitor while its mechanism remains hidden. anti refuses instant recognition. Its black, light-absorbent surface and monolith-like crystalline shape, that derives from Albrecht Dürer’s engraving Melancholia I (1514), confronts the viewer, trying both to mask its form and to disguise its function and thereby absorbing information. Accessed 09.06.2009 from pp lightweight structure, sound module, theramin module, transducer, amplifier, light-absorbent black paint 2004 Germany 30 Carsten Nicolai 1965 4256 images/works/Nicolai-2007-zone.jpg zone a sound installation, little objects and the nicolai’s traces series are combined to a room installation called zone, which pays tribute to andrej tarkovskij's 1979 film 'stalker'. in the film the zone is a site, in which every dream comes true, a mental and physical site, which has no identity but is able to contain all the identities at the same time. the room installation is an attempt to transport these ideas into a setting to question the usual states of perception. Accessed 12.06.2009 from piezo-pigment print, gilded, sivered and rusty screws, sound system 2007 Germany 30 Carsten Nicolai 1965 4257 images/works/Nicolai-2009-aoyama_space_2.jpg aoyama space no. 2 aoyama space no. 2 is the second model for a room installation out of a row of 6. in the interior of this box, which is painted with a black colour that almost doesn’t reflect any light, only a very fine vertical line of light is perceivable in the centre of the back side. the emanating light is triggered by a soundtrack of deep bass frequencies and high frequency click sounds that are also audible from inside the box. depending on the frequency modulations and the rhythm of the sound the line of light varies its shape and width. this causes different subjectively perceivable results: one-dimensional wafer-lines (by low sounds), two-dimensional surfaces (when by single flashes the eyes blur the light) and three-dimensional spatial impressions (when light is bulging out of the gap). Accesed 12.06.2009 from 2009 Germany 30 Carsten Nicolai 1965 4259 images/works/Nicolai-1998-bausatz_noto.jpg bausatz noto and#8734; Four Technics SL-1210 turntables are integrated into a table. On each of these turntables rests a specially produced vinyl record with 12 endless grooves each of which provides the visitor with the opportunity to play several sound-loops endlessly. The table functions as the instrument that permits the viewer to layer and superimpose the sound-loops and to create permanently new combinations. The field of interaction is further expanded by the option to substitute the record, to vary its pace and to have it rotate eccentrically through alternating holes. Headphones on top of the table invite the visitor to attentively follow the emergence of the sound surface. When leaving the installation a sound system installed at the exit emits the manually selected combination of sound-loops. Re-confronted with the sound surface, the visitor now recognizes the methods and means of its creation. Accessed 12.06.2009 from record player, vinyl records with locked grooves, mixing board, amplifier, loudspeaker 1998 Germany 30 Carsten Nicolai 1965 4260 images/works/Nicolai-2001-bitwave.jpg bitwave bitwave describes a series of visual works which employ interlocked and layered bar-coded sinus curves. The layering or superposition of several graphical wave forms creates a seemingly disorganized random order of parallel bar constellations which operate like codes, revealing the complexity of sine waves. In a total view these chaotic patterns break up, since the mathematical system is clearly recognizable. Accessed 12.06.2009 from 400 x 3600cm 2001 Germany 30 Carsten Nicolai 1965 4262 images/works/Nicolai-2001-fades2.jpg fades fades is an installation for a specifically designed environment. A fine haze of mist is introduced into a space in which the white light of the projection manifests itself. The light gradients based on linear and logarithmic wave modulations move in synchrony to the sound creating a variety of shapes and structures. The main focus does not lie on the image projected, but on the three-dimensional light sculpture in the space. Similar to the essence of music fades establishes a visual language that is able to communicate what is outside of our usual systems of understanding. Accessed 12.06.2009 from Fades is a video installation for a specially designed environment in which the image is not the main attraction. The installation has to do with light and sound as material, not as the content of an image. Extremely fine fog is sprayed into the space, materialising the white light. Where forms turn up on the surface is irrelevant. They already are there beforehand, already in transition. Basic elements grow out of the blackness into the white. In fades, they develop synchronously with the sound, going through a number of linear, logarithmic, parabolic and hyperbolic processes. A mathematical vocabulary is concealed behind sound and image. Fades plays with the idea of dis-covering this language, which results from complex combinations of mathematical figures – indicating to us the possibility of a communication beyond the horizon of our understanding, strange and alien enough to become a universal medium. The fades that give the work its title become a metaphor for the ways that language or ideas become conscious for us – in the sense of realisation and enlightenment. The room should be completely darkened. The digital projections run on a hard disk (or equivalent data device). Sounds from a quadraphonic loudspeaker system are synchronised with figures projected in the format 16:9 on the screen. The viewer perceives sound and image at the moment they become audible and visible. This works execution orients itself to the given situation. The black cube could be interpreted as an old movie house, the extremely fine fog as the screen and the white light as the projection. Accessed 31.05.2007 from lightproof auditorium, video projection (16:9 ratio), mist, sound 2006 Germany 30 Carsten Nicolai 1965 4263 images/works/Nicolai-2000-frozenwater2.jpg frozen water On a large platform two glass flasks of varying size are placed in front of a tube-like loudspeaker system. The loudspeakers mounted to the surface of the platform transmit a low-frequency sound that causes the fluids in the glass flasks to vibrate. Given the same intensity of sound, the sine wave-like pattern in the large glass flask is minimal, while in the smaller flask a rather chaotic modulation is generated which stops as soon as the sound interrupted. frozen water demonstrates a situation that is difficult to control and focuses on the polarity of the elements chaos and order, movement and stagnancy. Accessed 12. 06.2009 from modular tables, glass flasks, distilled water, amplifier, controller, modular system, mixing board 2000 Germany 30 Carsten Nicolai 1965 4265 images/works/nicolai-2003-inver1.jpg inver The room installation inver consists of two opposing elemental constituents: a black spot and white light. The surface of the black spot on the one side of the room is the darkest existing black to date, absorbing incoming light up to 99,7%. Opposite to it, there is a ultra light spot projected by a white laser beam whose strong contrast almost imperceptible to the human eye. Between the poles of inver – black and white, absorption and reflection – the visitor is placed in an area of transition. Accessed 12.06.2009 from NPL super black, laser: jenlas(R) white light, sound 2005 Germany 30 Carsten Nicolai 1965 4266 images/works/Nicolai-2007-invertone.jpg invertone invertone is an experimental installation that is based on the phenomenon that results from the subtraction of inverted sound waves. In the installation room, which is coated with white sound absorbing acoustic foam, a white noise sound is emitted from the two speakers. All over the room the sound is evenly present except at the centre point right in the middle between the speakers. Here the waveforms face themselves directly and thereby (ideally) erase each other totally. Accessed 12.06.2009 from Two loudspeakers, sound, modular foam acoustic panels 2007 Germany 30 Carsten Nicolai 1965 4267 images/works/Nicolai-1997-labor_e.jpg labor e labor e describes the terms work and the process of creative work. the tools for the production and recording of sound are shown in this exhibition. these tools constitute the artist's entire production equipment which he made available to visitors to compose and record sound. the recorded material was archived on location. labor e makes the work process transparent exposing it to the unpredictable influence of the audience. Accessed 12.06.2009 from steel, rubber, wave-form generators, mixing board, dat recorder 1997 Germany 30 Carsten Nicolai 1965 4268 images/works/Nicolai-2001-logic_licht1.jpg logic licht logic licht explores the theme of repetitive logic systems. a complex rhythm loop divided among nine channels is transmitted onto nine programmed flash lights. the filaments of the flash lights emit light and audible signals, creating a visual as well as an acoustic pattern. the origin of the morse code-like light impulses is decoded as soon as the light intervals are perceived as pure acoustic sound. Accessed 12.06.2009 from data flashes, dmx light programming 2001 Germany 30 Carsten Nicolai 1965 4269 images/works/Nicolai-1996-mikro_makro.jpg mikro makro the inner eye cannot perceive dimension. it recognizes structures, motives and a feeling. our micro cosmos is intricately linked with the macro cosmos that is surrounding us. therefore, examining the nucleus of the smallest particle leads us to realizations of the origin of the universe. our inner search reflects our outer search, the antithetic poles merging in infinity. two tables reminiscent of work tables: lenses, magnifying glasses and electric light bulbs help us recognize things that are not visible to the eye. they point to an existence beyond our realm of perception. mikro makroreflects upon this condition. a sound track emits noise of pulsars - pulsating radio waves of dying suns - as well as noise created in the process of scanning the human body with a magnet spintomograph. these references typify the interrelationship between man and the universe and their polarity. Accessed 12.06.2009 from 1996 Germany 30 Carsten Nicolai 1965 4274 images/works/Nicolai-2004-reflex1.jpg reflex The concept of reflex describes the interweaving of visual and auditory space. The dodecagonal geometrical sculpture reflex is open on one side inviting the visitor to enter its interior space. In the interior circulates filtered white noise emitted by ten high-tone piezo-loudspeakers each of which is mounted in the centre of each of the stretched polyester surfaces. The sound, which circulates around the sculpture, generates an acoustic illusion, as though there existed another three-dimensional object hidden inside the rhomboid. Although the same coordinates constantly describe this object, reflex is continually re-rendered by the random program that selects the sequence of the coordinates and the rhythm of the intervals. reflex was designed together with the sculpture anti to form a conceptual bipolarity for Carsten Nicolai’s solo exhibition anti reflex Accessed 12.06.2009 from aluminum frames, polyester, piezo high-tone speakers, max/msp program, firewire soundcard 2004 Germany 30 Carsten Nicolai 1965 4275 images/works/Nicolai-2003-sonic_lumiere.jpg sonic lumiere sonic lumiere is a research project that focuses on the transformation of sound into light and could well become a source for alternative energy. the concept is based on the phenomenon of the emission of light by tiny bubbles suspended in a liquid subjected to intense acoustic fields. it was first explored in 1934 by h. frenzel and h. schultes, both scientists at the university of cologne, germany. at the time, their research results were not considered important. in recent years, scientists have gone back to explore this phenomenon in greater detail; however, a low-density sound wave capable of concentrating sufficient energy in a volume small enough to emit light has not yet been discovered. light emitted by short waves yields a very high energy. the spectrum of the emitted light that has been observed seems to indicate that the temperature in the bubble potentially reaches several million degree celsius. since high temperatures are needed to achieve thermonuclear fusion the project sonic lumiere tries to shift the focus of attention back to the exploration of the phenomenon of sonoluminiscence. Accessed 12.06.2009 from 2003 Germany 30 Carsten Nicolai 1965 4276 images/works/Nicolai-2004-spray1.jpg spray spray is a room installation consisting of a folded, stealth-shape seating area and a video that can be seen from both sides of the projection screen. The 8-minute loop of the video shows the process of pixels accumulating, setting up orders, building up patterns, modelling moirés, decaying into fragments and dissolving again. The idea behind the work is to show that although our communication system tends to atomize information, the original sense remains. The stealth forms seen in the video of spray dissolve into particles, which still contain enough information to regain the original forms again and build up a cycle of persistent repetition. The main metaphor of spray is the mechanism of masking and concealing – of stealth. It shows the contradictory essence to produce and secure information as well as hide and absorb it. Accessed 12.06.2009 from video projector, dvd player, dvd, sound system 2004 Germany 30 Carsten Nicolai 1965 4277 images/works/Nicolai-2007-static_balance1.jpg static balance static balance works both as a sculpture and as a system to conduct and distribute sound. The shape of the parabolic mirrors with their reflecting surface creates a special acoustic environment that enables occurring sounds to be conducted through the space. At the same time the steel parabolas emanate a specially created sound into the installation space. At several points in the room there are junctions of the constantly bouncing sound signals floating through the space thus mapping it into areas of higher or lower concentration of acoustic information. We are invited to explore the space with our ears and follow the acoustic paths of sound. Accessed 12.06.2009 from 2 parabolas of coated steel (outside), and stainless steel (inside), sound 2007 Germany 30 Carsten Nicolai 1965 4278 images/works/Nicolai-2005-subvision1.jpg sub vision sub vision brings together two elements: the sounds of the Subharchord, an electro-acoustic instrument developed during the 1960s in East Berlin and a processed visualization of illustrations of scientific experiments by Werner Meyer-Eppler, a German physicist and theoretician of electro-acoustics. In the installation, the Subharchord’s tonal landscapes and constantly modulating tonal spectra are directly transposed into a real-time visual transposition derived from Meyer-Eppler’s illustrations. The visualization is projected onto the wall behind the instrument, thus combining sound and image in the same space. The installation does not only call in question modes of perception and the significance of multi-sensory presentations. It also opens up discussion of the definitiveness of scientific and artistic standpoints whose outer form is often strikingly similar. Purely scientific observation interacts with artistic impulse so that immediately it is no longer possible to distinguish between them. Art makes use of scientific logic and science successfully deploys aesthetic premises. Accessed 12.06.2009 from 2005 Germany 30 Carsten Nicolai 1965 4279 images/works/Nicolai-2004-syn_chron2.jpg syn chron The intention of syn chron is to create an integral sculpture of light, sound and architecture. Additional to its function to define the spatial structure of the object the translucent skin of the accessible crystal-shaped body serves as an interface for a synchronized play of light and sound, both on the interior and exterior of the object. The object at the same time is a room for spatial experience, an acoustic resonance body, and a projection surface. The visitor is witness to an interplay of electronic sound – transmitted onto the surface of the crystal – and programmed laser beams that are visible both on the out- and the inside. syn chron thereby creates an synaesthetic experience: in the inner, organic space of the human body the external signals of light and sound blend into each other to form a whole. Accessed12.06.2009 from ightweight structure, steel, aluminum, laser projection, sound system, rubber 2004 Germany 30 Carsten Nicolai 1965 4280 images/works/Nicolai-xxxx-void2.jpg void void is a series of glass tube sculptures filled with sound. Not focussing on the presence but rather the life span of sound, the work poses several questions: Can sound be stored in a space? What happens to sound when it is moving and continuously reflected within a space and what can be perceived when the space is re-opened? Accessed 12.06.2009 from sound, chrome-plated glass, aluminum, silicon, rubber 2002 Germany 30 Carsten Nicolai 1965 4281 images/works/Nicolai-2001-wellenwanne1.jpg wellenwanne The installation wellenwanne is conceived as a model or test arrangement. Flat trays are filled with water, each resting on four loudspeakers, which transmit the sound compositions via vibrations onto the water surface. The various sound pieces, which are partly inaudible, vary for each tray so that the sound signals generate various changing interference patterns. Based on the unusual physical properties of water this aesthetic-scientific test model touches on areas of particle physics posing the question how sound frequencies, as a form of energy, are able to modulate particles. Accessed 12.06.2009 from aluminum trays, cd player, cd, amplifier, speakers, water 2001 Germany 30 Carsten Nicolai 1965 4282 images/works/Nicolai-2008-yes_no.jpg yes/no both elaborately produced sculptures are conceived of acoustic wave forms of the spoken words 'yes' and 'no'. they reperesents the attempt to materialize the sculptural chararcteristics of sound when flowing through space into a respective visual effigy. the semantic content of the sculptures give answers to unasked questions and hence open up a wide range of interpretation and association. yes/no could additionally be considered a very special portrait of laurie anderson, who originally spoke the two words that have been solidified here. Accessed 12.06.2009 from two aluminium sculptures on rubber mounting 2008 Germany 19 Janet Cardiff and George Bures Miller 1957 4337 images/works/Cardiff-2008-Murder.jpg The Murder of Crows With The Murder of Crows, their largest sound installation to date, Janet Cardiff and George Bures Miller continue the explorations they embarked on in the mid-1990s into the sculptural and physical attributes of sound. In the otherwise empty historical hall of the Hamburger Bahnhof in Berlin, 98 loudspeakers are installed. These emit the sounds of voices, music and soundscapes generated by special stereophonic recording and replay techniques, creating a composition that has a direct physical impact on the listener. The installation is conceived like a film or a play, but one whose images and narrative structures are created by sound alone. The three-part work, composed in collaboration with Freida Abtan, Tilman Ritter and Titus Maderlechner, is 30 minutes long. The installation’s title, The Murder of Crows, refers both to the English term for a flock of those birds and to the strange occurrence known as a ‘crow funeral’: when a crow dies, many other crows converge around the body and caw, perhaps in lament, for over 24 hours. Another central reference is the etching The Sleep of Reason Produces Monsters by Francisco de Goya from the series Caprices (Caprichos, 1799). In this suite of etchings, Goya, in the spirit of the enlightenment, took a critical look at tyranny, ignorance and superstition. In an epoch characterized by political and social upheavals, wars and insurrections, he warned: Imagination abandoned by reason produces impossible monsters. In the installation by Cardiff and Miller, one hears Janet Cardiff’s voice, coming from a megaphone on a table at the center of the room, relating thoughts and dreams. Like Goya’s sleeping man, she is a captive of her own nightmares, experiencing dreadful scenes fraught with fear and terror. Sounds and noises roam the space of the exhibition like the owls and bats that flit around the sleeper in Goya’s etching. The sound piece becomes a requiem for a world that has lost its bearings, where a dearth of reason has brought forth unimaginable atrocities, madness, and catastrophe. The Murder of Crows is presented in collaboration with Freunde Guter Musik Berlin e.V. as part of the series "Musikwerke bildender Künstler" at the Hamburger Bahnhof in Berlin. Accessed 26.07.2009 from 2008 Germany 81 Kurt Schwitters 1887 4448 images/works/Switters-1922-immortality.jpg Immortality is Not Everybody's Thing 1922 Germany 81 Kurt Schwitters 1887 4449 images/works/Switters-1923-Merz-Column.jpg Merz-Column 1923 Germany 149 Nam June Paik 1932 4488 images/spacer.jpg Abschiedssymphonie (Farewell Symphony) A composer who uses normal instruments and noises, and a maker of art objects in the Fluxus tradition --like his Betrayal, Op. 144, a carton filled with various small objects and an EP, signed and numbered (available from Gelbe Musik). The Farewell Symphony was composed for the opening of the Friedensbiennale (Freedom Biennale) in Hamburg 1985, and is played by artists Joseph Beuys, Nam June Paik and Christansen. For further listening try the LPs Fluxid: Hoehlenmonat (A month in a hole), concerto for flute and noises; Fressmonat (A month of devouring), concerto for sax, cello and noises and Fluxyl: Koenig Frost (King Frost), concerto for oboe and noises; Maskenmonat (A month of disquises), concerto for trumpet, tuba and noises (both available from Gelbe Musik). ~ "Blue" Gene Tyranny, All Music Guide Accessed 12.08.2009 from 1985 Germany 149 Nam June Paik 1932 4489 images/spacer.jpg In Memoriam George Macunias 3-sided album. From liner notes: In 1978 Geroge Maciunas, founder and chairman of Fluxus, died in New York at the age of 47. In invert of these numbers the duration the piano-duett, performed to his memory by Joseph Beuys and Nam June Paik was planned for 74 minutes. The end of this memorable evening at the Kunstakademie of Düsseldrof was determined by an alarm-clock, set for 9:14 pm. Accessed 12.08.2009 from 1982 Germany )