May 8th, 7pm, performance Ian Hatcher (NY)

Record-Release / Performance / Talk:

IAN HATCHER – “Drone Pilot”
Cosmosmose Edition

Kollwitzstr. 97, 10435 Berlin – doors: 7 pm, performance 7.30 pm, no entry
later: talks with Ian Hatcher, Marc Matter, Antje Vowinckel, Swantje Lichtenstein

A presentation of the first release in the new established ‘Sound Writings’ series: Drone Pilot by Brooklyn-based writer, sound artist, and programmer Ian Hatcher (*1983). His work explores cognition in the context of digital systems. While studying Digital Language Arts at Brown University, he came up with his own propositions in this field: the way he trained his own voice, prosody and word-flow to mimick the qualities and even glitches of speech-synthesis is extremely suitable for a realization in sound; he states:
“Drone Pilot is a work of voice/sound poetry about a person who becomes part of a huge impersonal war machine, connected to a network of power and violence, which ultimately erases the person’s individuality. My work is focused on the entanglement of humans and machines. I’m interested in how a mind can be imprinted with digital logic, and how digital and human memory can extend each other. I perform my work with just my voice, without electronics, but electronics are always present, in the aesthetics of the performance and the electrical currents of the body.”

Sound Writings is a subdivision of cOsmOsmOse, dedicated to contemporary works of Text-Sound-Poetry. cOsmOsmOse has the aim to present (festival) and document (publishing) contemporary artists who work in the field of Text-Sound-Poetry.
It was founded by Swantje Lichtenstein and Marc Matter (Artistic Direction), Assistance by Friedemann Dupelius.

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Affective Listening workshop

Affective Listening
A two-day immersive experience of giving time and attention
With Ximena Alarcón (CO/UK) and Thirsty Moon/Ying Le (CN/DE)
Curated by Berit Fischer

12 May 2017, 20h: Colombian artist Ximena Alarcón gives an introduction to her work. Free.

13 -14 May 2017, two-day workshop with Ximena Alarcón (CO/UK) and Thirsty Moon/Ying Le (CN/DE)

(Limited number of participants. Participation on both days is desired. Total fee for both days is €20. Please RSVP to artcontent@gmail.com)

You are invited to a two-day immersive experience aiming to explore the relation between the micro and macro dimensions of human agency, and test whether changes in the individual can trigger changes in the collective. It furthermore questions the idea of ‘Selbstverortung’ (positioning of the self), and reflects on how one receives and acts upon the world as an affective being. Can the (social) body be decolonised, de-subjectified and propelled to a new subjectivation through creating heightened awareness and critical consciousness in both the individual and collective bodies? “Affective Listening” is a concept and holistic methodology by Berit Fischer that works between action and reflection, in which the cognitive reciprocally intertwines with the non-semiotic, the sensual and experiential. Can “affective listening” be a practice for agency? Can we share a code of collectivity? How can an art space be embodied? What kind of knowledge and new codes can affective listening produce? The two days will experiment with creating alternative realities through embodied and sensual exercises, along with theoretical readings and dialogue, exploring resonance and “Affective Listening.”

13. May 10 – 17h: Day 1 – Deep Listening with Ximena Alarcón
Deep Listening practice was developed by experimental composer Pauline Oliveros and is a unique approach that strives for a heightened consciousness of the world of sound and the sound of the world: “It cultivates a heightened awareness of the sonic environment, both external and internal, and promotes experimentation, improvisation, collaboration, playfulness and other creative skills vital to personal and community growth”.
Colombian artist and certified Deep Listening Tutor Ximena Alarcón will engage in Deep Listening, which she describes as “an inclusive and embodied practice of attention to all the possible sonic aspects that can be experienced.” Deep Listening reflects on connections to the Self, to the Others and to the environment, enlarging our sense of belonging and space. Through Deep Listening practice, we will be guided to experience inner and outer listening, to expand our individual and collective awareness, encountering many possible audible forms, beyond ordinary sound perceptions in daily life. It will encompass listening to interstitial spaces like one’s own thoughts, imagination, dreams and listening to listening itself.
(www.ximenaalarcon.net, http://www.deeplistening.org)

14 May, 13 – 17h: Day 2 – Discursive Teahouse with Thirsty Moon/Ying Le
In ancient Chinese culture, the teahouse was often associated as a place for sharing ideas, for literature, arts, and philosophy and a place where social rank and political allegiances were temporarily deferred for an open conversation. Still today, the teahouse and communal tea consumption is of cultural importance; the tea’s potencies encourage conviviality and open exchange. On the ground of believe that one’s state of mind or attitude can be passed easily to the Others, mutual respect and appreciation for nature is essential to the spirit of a tea ceremony.
Chinese artist Ying Le and co-founder of Berlin’s tearoom Thirsty Moon will immerse us in the experience of collective tea drinking. She will introduce us to a tea ceremony as a communal place of exchange, in which our senses and consciousness will become amplified. Le will be sharing the experience of complex properties of tea leaves of the purest quality from cultivated ancient wild tea trees in Yunnan, China. Her way of serving tea is informed by the Chinese Gong Fu tea ceremony, based on the notion of dedicating “time and effort.” Having been interested in the relation to nature, the rituals and the social and bodily dimensions surrounding the potential of drinking tea, she states “We would like to see how the deepened social consciousness embedded in tea interacts with our present environment. Drinking tea is a means of participation.” (http://thirstymoon.net)
In addition, the Discursive Teahouse will encompass holistic methodologies of “affective listening” guided by independent curator and yoga teacher Berit Fischer. They will include exercises of mindfulness, meditations and communal reading of related theoretical writings as a cognitive impulse to reciprocally intertwine with the sensual experiences.

The Affective Listening project is part of the Radical Empathy Lab (REL), founded by independent curator Berit Fischer as an ongoing research laboratory that moves through time and place as a question, a slogan, an intervention, as situations, actions, as encounter and as place that allow the laboratory to explore how the curatorial can activate a micropolitical and holistic making of socio-communal empathy. REL aims to experiment with embodied/somatic approaches for creating critical consciousness in which the cognitive reciprocally intertwines with the non-semiotic, the sensual and experiential. REL investigates the relation between micro and macro dimensions of agency, as practices of freedom, self-empowerment that decolonize and de-subjectivate the (social) body and its relationality to the Other.

Participation on both days is desired. The fee for both days is €20. Please RSVP and tell us a bit about your background and your interest in the topic. Please send your mail to: artcontent@gmail.com

Yan Jun / Acoustic Dance

Yan Jun / Acoustic Dance

Friday, February 24 / 19:00 – 21:00 *multiple performances staged for an intimate group

 

Some simple, slow and amateur body movements I call dance. Intended to diffuse little sounds from steps, cloth, joints, skin and somehow the environment (and audiences themselves) to and through and among the audiences. Maybe also an excuse of enjoying some weird and nonsense behaviour. It’s developed from improvised music performance which I realize the performers are neither expressing anything through bodies nor playing with still bodies. There are always something come after the meaning and the intention. There is no such thing as pure acousmatics, as long as there is body which constantly transforming energy and language between its inside, outside and interface.

acousticdanceyan jun, musician and poet. born in lanzhou in 1973. based in beijing. currently lives in berlin for artist residency (daad). he is working on improvised music, experimental music, field recording, organizing and writing. alongside of at venues, he goes to audience’s home to play with the environment and what else available in the room (Living Room Tour project). and doing noise hypnotizing at any place for small amount of audiences. also amplifying body movements or other performative elements in a simple manner. he is member of FEN, Tea Rockers Quintet and Impro Committee. and founder of the guerrilla label Sub Jam.

Kirsten Reese r.d.l. – automatic creation

15.2. 19:00

r.d.l. – automatic creation

As part of Transmediale/Vorspiel please join me for 3 hours 44 minutes (19 – 22.44)

A 3 hours and 44 minutes long installation-performance with sounds made in a process of ‘automatic creation’, daily sketch-like work with sound processes and sound transformation, following up and re-working micro-results by manipulating software in extreme parameters. Interspersed are sound objects, also processed live. The piece is projected through small speakers with different acoustic characteristics spread throughout the performance space. What originates from the artists mind, what from the depth of the digital software, what from the physicality of the speaker?

GLISSANDO #29 – CONCEPTUALISM ISSUE |

One could think that conceptualism – both as a movement and artistic tendency – had never existed in contemporary music. There is no mention of this phenomenon in the vast literature on the history of the 20th and 21th century musical practices. Although conceptualism is primarily associated with the visual arts, let us not forget that its origins lie in music, e.g. in the musical experiments of John Cage and New School For Social Research, or Henry Flynt, who coined the term concept art.

In the current Glissando #29 issue we take a look at conceptualism understood as artistic experiments, which are no more limited to the creation of new forms or “material progress”. We focus on the practices subverting the conventional model of musical work or artwork in general and thus going beyond the traditional domain of aesthetics. The purpose of these practices is to redefine ontological, epistemological, and ethical problems.

Our Berlin presentation of the issue, co-organised with Errant Sound collective will include lectures, panel discussion, the exhibition posters created by Kama Sokolnicka, presentation of the label AltanovaPress as well as a concert by Lucio Capece, Heather Frasch, Joseph Kudirka and Koen Nutters.

Schedule:

1) Introduction to the #29 issue of Glissando – „Conceptualism” (Paweł Szroniak)
2) Lecture: „Impossible music” and Polish conceptual art of the 60’s and 70’s (Antoni Michnik)
3) Label presentation of Altanova Press (Paweł Szroniak, Zorka Wollny)
4) Panel Discussion: Musical Conceptualisms (Sebastian Berweck, Heather Frasch, Joseph Kudirka, Hanne Lippard – moderation: Monika Żyła, Paweł Szroniak)
5) Preview of the issues #30 & #31 (Daniel Brożek, Antoni Michnik)
6) Concert: Lucio Capece, Heather Frasch, Joseph Kudirka, Koen Nutters (pieces by Ryoko Akama, Allison Knowles, Mark So).

Date: 04.02.2017 (Saturday)
Time: 18:00-20:30
Place: Errant Sound
Kollwitzstr. 97
10435 Berlin