Acousmatic Lecture – Birgit Schneider

You are cordially invited to the second Acousmatic Lecture of the series 2017 on 13th July at 7pm presenting Prof. Dr. Birgit Schneider in Errant Sound, Kollwitzstraße 97, 10435 Berlin.

Please confirm your participation by sending an email to acousmaticlectures@gmail.com

We are looking forward to your coming!

Acousmatic Lectures Series
Acousmatic-logo.jpg

The Acousmatic Lectures Series presents a program of unconventional, interdisciplinary lectures in Berlin, in which art and theory encounter one another in productive dialogue.

The Acousmatic Lectures Series is a laboratory for investigating phenomena that are directly related to acoustic information and its research-based, artistic, and socio-political dimensions.

13.07.2017 – 19:00 h

Prof. Dr. Birgit Schneider

Forms of an Ecological Aesthetics of Climate and Climate Change

The climate is invisible because of its scientific definition as long-term weather statistics. Starting from this postulated an-aesthetic of weather, the lecture will outline the visualization strategies that made perception of the climate possible via early forms of data visualization. In early climate research these perceptions were tied not only to the dispositifs of instrument-based measurements but also of organic sensing that is inseparable to climate perception. Historical examples will be contrasted with today’s visualizations of anthropogenic climate change, which integrate the human factor into the ecology of the climate.

Dr. Birgit Schneider studied aesthetics, media theory, and media art at the Karlsruhe University of Art and Design, Goldsmiths College London, and Humboldt University in Berlin. Since 2009, she is researching climatic imagery as a Dilthey Fellow at the European Media Studies program at the University of Potsdam. Her work focuses on the field of image, cultural, and media studies: graphic methods such as maps and diagrams, climatic data visualization, digital images; the theory and technological history of textiles and the punch card; camouflage—strategies of invisibility around 1900; TV history + interference and disruption; art and media history of sound & vision.

The lecture will be held in German!

Program

06.07. 2017 / 19:00 h – Sabeth Buchmann

13.07.2017 / 19:00 h – Birgit Schneider

14.09.2017 / 19:00 h – Hans-Jörg Rheinberger

19.10.2017 / 19:00 h – Alex Arteaga

26.10.2017 / 19:00 h – Markus Gabriel

Online program

Acousmatic Lectures Series is a project by Mario Asef

The project was made possible by:

Alle.png


Website: Acousmatic Lectures

Contact: acousmaticlectures@gmail.com

Errant Sound
www.errantsound.net
Kollwitzstrasse 97
10435 Berlin

IN THE SOUND FIELD #4

Perspectives on Field Recording — Installations and Performances — Talks — QR-Sound Gallery

Works by Alessandra Eramo, Georg Klein, Georg Werner, Ines Lechleitner, Jeremy Woodruff, Kirsten Reese, Laura Mello, Mario Asef and Peter Cusack.

Upcoming part #4 of the Series: Opening Friday July 14th at 6pm

Lasse-Marc Riek (Gruenrekorder, Frankfurt/M): Recording and Publishing Sounds from the Field
Talk. — Moderation: Golo Föllmer

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Kirsten Reese: »Sound Cards« (2005 – )
Installation
To over 50 postcards from cities in many countries the soundscape of the location pictured on the postcard was recorded. The places / postcards were chosen according to the specifity of the sound of the location they represent. The postcard is, in times of Instagram and Facebook, a somewhat obsolete medium, but still linking itself with everyday culture and the communication of experience of strangeness and appropriation alike.

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Georg Klein: »Le Due Forze di Taranto / Two Powers of Taranto« (2014)
Photo-Sound-Installation
The installation has three parts, working with the conflicts of the city Taranto in South-Italy. The city is trapped between two forces – the steel and petrochemical industry in the northwest and the navy in the southeast. Two double-sided photo plates show representatives of the two ruling powers. But a third force gets a voice, represented by a member of the independent organisation “Commitato”. In opposition to the representatives on top his face ist visible and also his voice is audible, interrupted by field recording sounds of special locations in the town, ILVA and the navy

at Errant Sound, Kollwitzstr. 97, 10435 Berlin

Opening times: 14.—16.7. 2917; 18:00-21:00 opening night, 15:00-20:00 exhibition

Acousmatic Lecture Series – Sabeth Buchmann

 

Vorhang-k.jpgSehr geehrte Damen und Herren,

wir laden Sie herzlich ein zu der ersten Acousmatic Lecture der Reihe 2017 am 06.07.2017 um 19:00h mit Prof. Dr. Sabeth Buchmann im Errant Sound, Kollwitzstraße 97, 10435 Berlin.

Um ihre Teilnahme zu bestätigen bitte wir Sie eine Email an acousmaticlectures@gmail.com zu senden.

Wir freuen uns auf Ihr Kommen!

Mario Asef

Acousmatic Lecture Series

Acousmatic-logo.jpg

 

Im Rahmen der Acousmatic Lectures Series wird eine Reihe von ungewöhnlichen interdisziplinären Vorträgen in Berlin präsentiert, in welchen Kunst und Theorie sich in einem produktiven Dialog miteinander treffen.

Acousmatic Lectures Series ist ein Labor zur Untersuchung von Phänomenen, die unmittelbar mit akustischen Informationen und ihrer wissenschaftlichen, künstlerischen und gesellschaftspolitischen Dimension in Verbindung stehen.

06.07.2017 – 19:00 h

Prof. Dr. Sabeth Buchmann

(Des-)Artikulation – Stimme als Ort und Medium der Transformation

In der Gegenwartskunst fallen eine Vielzahl von Werkformen auf, die nach der Darstellbarkeit individueller und kollektiver Traumata fragen und in diesem Zusammenhang die Stimme als buchstäbliches und metaphorisches Medium zur Aufführung bringen: Sei es in Gestalt von Sprechproben oder von therapeutischen Sprachtrainings. Insofern auf diese Weise die Möglichkeiten und Grenzen der Artikulation zum Gegenstand der Darstellung gemacht werden, erweist sich die Stimme als zugleich psycho-emotionaler, sozio-kultureller und gesellschaftspolitischer Topos. Im Vortrag sollen unter Bezugnahme auf Paul B. Preciados Testo “Junkie. Sex, Drogen und Biopolitik in der Ära der Pharmapornografie“ (engl. 2008/ dt. 2016) exemplarische Filme und Filminstallationen der Künstlerinnen Ana Hoffner und Katarina Zdjelar hinsichtlich der hierin zur Anschauung kommenden Versuche betrachtet werden, die Stimme zum Medium und Ort der (Selbst-)Transformation zu erheben.

Sabeth Buchmann ist Kunsthistorikerin und -kritikerin. Sie veröffentlicht u.a. regelmäßig in der Zeitschrift Texte zur Kunst. Seit 1997 hatte sie Lehraufträge, Assistenzen, Gast- und Vertretungsprofessuren an verschiedenen Akademien und Universitäten inne. Seit 2004 ist sie Professorin für Kunstgeschichte der Moderne und Nachmoderne an der Akademie der Bildenden Künste Wien.

Der Vortrag wird auf Deutsch gehalten!

Programm

06.07. 2017 / 19:00 h – Sabeth Buchmann

13.07.2017 / 19:00 h – Birgit Schneider

14.09.2017 / 19:00 h – Hans-Jörg Rheinberger

19.10.2017 / 19:00 h – Alex Arteaga

26.10.2017 / 19:00 h – Markus Gabriel

Programm online

Das Projekt wurde ermöglicht durch:

Alle.png

Website: Acousmatic Lectures

Kontakt: acousmaticlectures@gmail.com

(E)

You are cordialy invited to the first Acousmatic Lecture of the series 2017 on 6th July at 7pm presenting Prof. Dr. Sabeth Buchmann in Errant Sound, Kollwitzstraße 97, 10435 Berlin.

Please confirm your participation by sending an email to acousmaticlecture@gmail.com

We are looking forward to see you!

Mario Asef

Acousmatic Lecture Series

Acousmatic-logo.jpg

The Acousmatic Lectures Series presents a program of unconventional, interdisciplinary lectures in Berlin, in which art and theory encounter one another in productive dialogue.

The Acousmatic Lectures Series is a laboratory for investigating phenomena that are directly related to acoustic information and its research-based, artistic, and socio-political dimensions.

06.07.2017 – 19:00 h

Prof. Dr. Sabeth Buchmann

(Dis) articulation—Voice as Place and Medium of Transformation

In contemporary art there are a number of expressive forms that question the representability of individual and collective trauma, and, in connection to this, the voice is performed as a literal and metaphorical medium: be it in the form of auditions or therapeutic language training. To the extent the possibilities and limitations of articulation then serve as the subject of the representation, the voice proves to be at the same time a psycho-emotional, socio-cultural, and societal-political topos. Referencing Paul B. Preciado’s essay “Junkie. Sex, Drugs, and Biopolitics in the Era of Pharmapornography” (2008), the lecture will examine select films and film installations by artists Ana Hoffner and Katarina Zdjelar in an effort to elevate the voice as the medium and location of (self-) transformation.

Sabeth Buchmann is an art historian and critic. She publishes regularly in the journal Texte zur Kunst and others. Since 1997, she has lectured and worked as an assistant, visiting, and interim professor at various academies and universities. Since 2004, she is professor of modern and postmodern art history at the Academy of Fine Arts Vienna.

The lecture will be held in German!

Program

06.07. 2017 / 19:00 h – Sabeth Buchmann

13.07.2017 / 19:00 h – Birgit Schneider

14.09.2017 / 19:00 h – Hans-Jörg Rheinberger

19.10.2017 / 19:00 h – Alex Arteaga

26.10.2017 / 19:00 h – Markus Gabriel

Online program

The project was made possible by:

Alle.png

Website: Acousmatic Lectures

Contact: acousmaticlectures@gmail.com


Errant Sound
www.errantsound.net
Kollwitzstrasse 97
10435 Berlin

IN THE SOUND FIELD – Perspectives on Field Recording III

 

Works by Alessandra Eramo, Georg Klein, Georg Werner, Ines Lechleitner, Jeremy Woodruff, Kirsten Reese, Laura Mello, Mario Asef and Peter Cusack

upcoming: 22.-25.6.

Alessandra Eramo »3 Places where I can sing: Songs for Valparaìso«
Installation
The project investigates the sonic memory of the inhabitants of Valparaíso in Chile who are interviewed about songs related to the city. From the recording of this process, Eramo has created a sound composition and performed in various places of the city specifically selected for their symbolic connotation, also using her voice. The work aims to generate a new and bizarre oral history of the present, connecting the sound memory of the inhabitants and Eramo to the public space of the city.

Ines Lechleitner »Looking for Voices«
Video projection
Based on field recordings made by Ines Lechleitner in 2005 in a primate research reserve on the remote island Siberut in Indonesia, the video is an hommage to failed communication attempts: between humans and animals, between a sound and an image. When body and media are at a loss humour takes over.

Mario Asef »Sozio-Phonon«
Sound-Installation for six loudspeakers
Using field recordings from a wide range of sources, the Sozio-Phonon project combines specific acoustic events in a global relationship to one another. The installation unite a number of distant places in a single “here and now,” where the individual acoustic social particles can no longer be pinned down according to location.
A phonon is a quasiparticle used in theoretical solid-state physics to describe quantum mechanically the characteristics of acoustic vibrations in crystal. Phonons are delocalized, i.e. a phonon exists in the overall crystal lattice and keeps from being assigned to a specific location.

at Errant Sound, Kollwitzstr. 97, 10435 Berlin

Opening times: 18:00-21:00 opening night, 15:00-20:00 exhibition

IN THE SOUND FIELD. Perspectives on Field Recording — Installations and Performances II

Georg Werner Bikes_breads_car-k.jpg

Photo © Georg Werner

Works by Alessandra Eramo, Georg Klein, Georg Werner, Ines Lechleitner, Jeremy Woodruff, Kirsten Reese, Laura Mello, Mario Asef and Peter Cusack

Upcoming:
1.-3.6.2017       Opening times: 18:00-21:00 opening night, 15:00-20:00 exhibition

at Errant Sound, Kollwitzstr. 97, 10435 Berlin

Peter Cusack »Aral Sea Stories: Dagira, golden carp, untraceable artists who restore fishermen to ships stranded in the desert and other tales«
Fifty years ago the Aral Sea in Central Asia was the planet’s fourth largest lake. In the decades since it has virtually disappeared; a victim of disastrous irrigation schemes that extract most of the water from its feeder rivers. However today Kazakhstan is making a surprisingly successful attempt to restore the small part of the Aral within it’s territory. Water levels have risen, native fish species have increased, wildlife is returning and, although slow, improvements to the environment are obvious. The fishing industry is employing local people once more, bringing work to an impoverished and depopulated region.
Since 2013 I have made three trips to the Aral to make field recordings, take photographs and talk to people there. It is an extraordinary region; a vast open landscape with no trees and strong winds. It can reach +50 in summer and -25 in winter.
Aral Sea Stories has no fixed show or installation. I will bring my recordings, photos, stories, performance ideas, and other material to arrange and re-arrange over the 3 days at Errant Sounds. People are invited to hear and see the work in progress.

Georg Werner »Radiophonic Kabul«
The object – an old radio – plays recordings, made sitting in a cab in 2004 during a work trip to Kabul. Simultaneously it transmits the sound over the air via a radio transmitter. They can be picked up by other radios next to contemporary radio programs. Distances both time wise and location wise become important.

Further dates in this Errant Sound series:
22.-25.6.       
Alessandra Eramo »3 Places where I can sing: Songs for Valparaìso«
Ines Lechleitner »Looking for Voices«
Mario Asef »Sozio-Phonon«
14.-16.7. 
Lasse-Marc Rieck (Gruenrekorder, Frankfurt): Lecture
Georg Klein »Le Due Forze di Taranto«
Kirsten Reese »Sound Cards«

IN THE SOUND FIELD. Perspectives on Field Recording — Installations and Performances

Kirsten Reese-k.jpgPhoto © Kirsten Reese

Works by Alessandra Eramo, Georg Klein, Georg Werner, Ines Lechleitner, Jeremy Woodruff, Kirsten Reese, Laura Mello, Mario Asef and Peter Cusack.


Upcoming:

Thursday May 18th at 6pm:
Opening of the QR-Sound Gallery

Laura Mello »Rosa dos Sons / Sound Compass (Spaces #2)«
Since 2009 I have been documenting the soundfield in and around my appartment in Berlin. How much and which kind of information is in a field recording documentation? For instance: how much of a sense of space, direction and/or of time (daytime, year season) can one take from field recordings? Is this perception reality or imagination? Past or present?

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Jeremy Woodruff »Sonic Permaculture: Reverberations of the Urban Garden with Performance for Action«
Using sounds recorded at the urban garden in Wedding, “Himmelbeet” and sounds of an urban garden in Bangalore, India, along with a live performance on Kollwitz Str. by Andrew Noble (under the auspices of Performance for Action) during the opening on Thursday, this installation investigates urban soundscapes as they intersect with garden initiatives and community organizing. The concept of sound remix as re-imagining economies of urban interaction is a focal point, as live and prerecorded soundscapes are intermingled.

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at Errant Sound, Kollwitzstr. 97, 10435 Berlin

Further dates in this Errant Sound series:

1.-3.6.
Peter Cusack »Aral Sea Stories«
Georg Werner »Radiophonic Kabul«

22.-25.6.
Alessandra Eramo »3 Places where I can sing: Songs for Valparaìso«
Ines Lechleitner »Looking for Voices«
Mario Asef »Sozio-Phonon«

14.-16.7.
Lasse-Marc Rieck (Gruenrekorder, Frankfurt): Lecture
Georg Klein »Le Due Forze di Taranto«
Kirsten Reese »Sound Cards«

Opening times: 18:00-21:00 opening night, 15:00-20:00 exhibition

 

Artist talk with Ximena Alarcón

Artist talk with Ximena Alarcón
On dis-location: listening and re-composing with others

Friday, May 12 / 8:00pm

Errant Sound
Kollwitzstrasse 97
10435 Berlin

Ximena Alarcón is a UK based Colombian sound artist and Research Fellow at CRiSAP, London. Her practice-based research focuses on the creation of telematic sonic performances and networked environments to expand our sense of place, using field recordings and spoken word in urban and migratory contexts. She is interested in listening to interstitial spaces, such as dreams, underground transportation, and the ‘in-between’ space in the context of migration. To evoke, connect to, and share memories of sonic space her practice involves Deep Listening, telematic sonic improvisation using spoken word and everyday sonic environments, and the creation of online interfaces for relational listening that expand our sense of belonging and place.

She has a PhD in Music, Technology and Innovation, from De Montfort University, awarded in 2007 for the Thesis “An Interactive Sonic Environment derived from commuters’ memories of soundscape: a case study of the London Underground”. She was awarded with the prestigious Leverhulme Early Career Fellowship 2007-2009 for the post-doctoral project “Linking urban soundscapes via commuters’ memories”. She gained a Deep Listening Certificate in 2012 by the Deep Listening Institute. Since 2011 she has been Research Fellow at Creative Research into Sound Arts Practice (CRiSAP), London College of Communication, where she develops ‘Networked Migrations’ project, looking at the in-between sonic space in the context of migration through the practices of telematic sonic performance and Deep Listening. In 2015 she launched with Cathy Lane the project ‘Sound Matters Framework’ which explores the interrogation and relational playback of Field Recordings and Speech. Now Ximena is focusing on the creation of Interfaces for Relational Listening.

Her art projects include: the online environment Sounding Underground (London-Mexico-Paris); and Networked Migrations – a series of telematic performances exploring, through Deep Listening migration and dislocation, in UK, Colombia, Mexico, Troy, France, Linz and Bangalore. In 2015 she had an art residence for the Srishti Interim 2015, at the Srishti Institute of Art and Design, in Bangalore – India. Her last performance Suelo Fértil [Fertile Soil], commissioned by UNESCO, became a telematic sound art collective for migrant women.

Ximena has been a course leader and lecturer for the MA/MSc in Creative Technologies at the Institute of Creative Technologies (2010 and 2013), and has taught in various courses of Arts, Humanities and Design at De Montfort University, and the Universidad Externado de Colombia. She currently teaches at the BA and MA in Sound Arts at the London College of Communication and a tutor for the Deep Listening Training Program at the Center for Deep Listening at Rensselaer Polytechnic Institute.

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