To hear on Saturday 1 November 2014, from 7pm to 11pm
at the NachtundNebel festival
and on the ohrenhoch Sundays
2 and 9 November 2014, 2pm - 9pm:
Sound installation (2009 - 2014)
by the ohrenhoch-Kids
Director: Knut Remond
Recording from 25 October 2014, palm house at Gruson greenhouses Magdeburg, SinusTon - Magdeburg Days of Electroacoustic Music.
The ohrenhoch-Kids presented their sound-space installation "Tagaktiv" in the Gruson greenhouse at the Magdeburg Days of Electroacoustic Music SinusTon on 25 October.
The compositions consisting of more than 70 creations of imitated or fantasy animals were produced and installed under the title 'Nocturnal' by the ohrenhoch-Kids for the first time in 2009 in the darkened cellar room of 'ohrenhoch - the Noise Shop'. In 2013 the ohrenhoch-Kids produced "Superfrogs and Toad Music" with the same idea as the 'Nocturnal' composition and installation concept, save that it's interlarded additionally with so-called real frogs and toads, whose voices were placed at their disposal by the Animal Sound Archive of Natural History Museum of Berlin.
For the creation of the fictional animals the ohrenhoch-Kids recorded different acoustic everyday objects such as plastic cups, prepared recorder, straws, elastic bands and their voices, and processed them on the computer. They compiled these more than 70 pieces or recordings on 9 MP3 players with plugged small active speakers, and partially structured them with pauses. The pauses are important in this conception or composition as the individual MP3 players intertwine and give a fantastic spaciousness to the collective composition.
For the sound-space installation 'Tagaktiv' in the Gruson greenhouses the ohrenhoch-Kids decided for the palm house. For the entire composition they additionally composed new animal sounds. The compilation of 94 compositions for the Gruson greenhouse has been newly distributed to 12 MP3 players for the palm house. The ohrenhoch-Kids installed 'Tagaktiv' between the plants in the Gruson greenhouse and acted as guides for the small and big hearers through the fabulous sound labyrinth, combined with a botanical guided tour.
The names of the ohrenhoch-Kids who worked on this composition or sound installation between 2009 and 2014: Ferdinand, Louis, Clara, Samuel, Jacob, Chiara, Tarek, Yuri, Elias.
The names of the animal sounds compositions:
EULE, CHIP, GOSTY-KRÖTE, NACHTSPATZ, ENTE MIT MIKROPHON, UHU, WASSERBLECH-FROSCH, AUSTRALISCHE KRÖTE, WILDSCHWEIN(E), WABENKRÖTE, KLORAX, RALOHFX, DACHS, PFEIFER, MESSERSCHARFES NACHTKONZERT, STAR-KRÖTE, NASUZULAMI, NACHTIGALL, SCHRAUBEN-KRÖTE, NUSSVOGEL, SPECHT, LIZZARD-KRÖTE, SMILISCA Südamerika, FASSI-FROSCH, GRILLE(N), PLASTIKVOGEL, TOLLWÜTIGE NACHTIGALL, VOGELKONZERT, HUGO-FROSCH, KLEINER WASSERFROSCH, SCHLAMM-FROSCH, JAPANISCHER LAUBFROSCH, RADIO-VOGEL, ROHRSPATZ, REGENSPATZ, WASSERNACHTGLUCKVOGEL, RIEDFROSCH Afrika, ROTBAUCHUNKE Europa, KAKTUS-KRÖTE, HANDY-VOGEL, MESSERSCHARF, TROMPETEN-NASEN-VOGEL, VOGELOMETER, WELLENSITTICH, PLATSCH einzeln, WASSERGLUCKVOGEL, IGEL SCHMATZT, MAUS UND IGEL TANZEN, GRÜNER MUSIK-FROSCH, RABE, MAUS TANZT, TECHNIK-KRÖTE, LUFT-KRÖTE, EISI-FROSCH, DONNER-KRÖTE, INDIADA-KRÖTE, VLAKRO-KRÖTE, GLIBBO KRÖTE, GLIBBER-FROSCH, ALIGARORI FRO, FRO JOKE, ROYAL FROSCH, KRISTALL-FROSCH, BLIZZER-KRÖTE, HANDY-KRÖTE, NEUKÖLLNI-KRÖTE, NO FROSCH, STAHL-WÄCHTER, KUGEL-FROSCH, CHINESISCHER WASSERFROSCH, TEICHFROSCH, WASSERFROSCH Türkei, MOORFROSCH, RODOQUALLE, MAULTROMMELENTE, MONSTERBRÜHL, HAMMER-KRÖTE, KREUZKRÖTE, SAHARAFROSCH Afrika, GIFTFROSCH Südafrika, ZIRPFROSCH Australien, GRASFROSCH Befreiungsrufe, KRALLENFROSCH Südafrika, TORNADO-KRÖTE, SPIEGELFROSCH, AGA-KRÖTE Amerika, MAURISCHE KRÖTE Afrika, BAMBINA-BAMBINA, MOTORI-FROSCH, WASSERSCHNEPFE, ENTENKÜKEN, TUBA, SPATZ, KLAPPERSCHLANGE
The ohrenhoch-Kids on ohrenhoch website
To hear on Sunday 19 and 26 October 2014, 2pm - 9pm:
by Tamara Friebel
Tamara Friebel on 'Who is ruling your kingdom, dear ambrosia?':
does it matter how much I remember of you?
born in Australia, lives in Vienna since 2002 | Austria, Staatsstipendium 2014 | NASOM Stipendium 2014/15 | Rondo Kunst Atelier Graz 2013/14 | Studies in sociology and theology in Melbourne, and in architecture at the Universität für angewandte Kunst with Zaha Hadid and in composition at the Universität für darstellende Kunst with Chaya Czernowin, Karlheinz Essl, doctorate in composition with Liza Lim at the University of Huddersfield | Works include Australia Biennale Pavilion” (short-listed); “Wärme ” Kurzoper mit Phace, Wien Modern, Palais Kabelwerk; "There was never any war up here", Studio for New Music Moscow.
To hear on Sunday 5. and 12 October 2014, 2pm - 9pm:
by Liam Slevin
Liam Slevin on 'Sonic Skin 1.3':
Sonic Skin is a transient, unseen, research unit and live audio platform devised, maintained and disseminated by Liam Slevin. Sonic Skin is currently active in two cities; Detroit and Berlin.
Sonic Skin approaches the urban environment as an analogy of the corporeal, with a complex set of systems: organs, nerves, glands, fluids, skeleton and skin. Using field recordings taken from the urban sound ecology of Detroit and Berlin, Slevin will present a selection of these recordings that are composed at random, creating a layered and dissected soundscape.
The recordings from both cities have been made through the use of minimal, simple technologies, primarily contact microphones and contact speakers. This simple act of physical connection between microphone and membrane transforms each glass window, metal rail, bus stop shelter, café countertop, worn seat into both an ear and mouth, a sonic orifice to ingest and release the frenetic energy within these seemingly passive surfaces.
B.1984. Cork, Ireland
Slevin is a multi-disciplinary artist, curator and from Cork Ireland. He has exhibited and performed throughout Ireland and abroad. Most notable exhibitions and performances include MIA, Portugal (2011), Sonic Vigil, Cork (2011) IMOCA, Dublin (2012), Holz Kohlen Koks, Berlin (2012), Listhus, Iceland (2012) Open Spike Island, Bristol (2013) and Popps Packing, Detroit (2014) He holds a B.A honours degree from the Limerick School of Art and Design and has been the recipient of the Travel and Training Award from the Arts Council of Ireland in 2012, 2013 & 2014.
In 2008 he co-founded the artist collective Cork Contemporary Projects. Its main ethos was to facilitate emerging artists, collaborate with alternative art discipline and to open dialogue and discourse with peer organisations. In 2009 he set up and became the co-director of theSPACE, a one year artist led project space. theSPACE hosted 8 exhibitions, artists talks, workshops, screenings, performances and a series of sound art events called ‘Input/Output’
In July of 2011 Slevin set up TACTIC, a new gallery and project space in Cork city with Pamela Myers. TACTIC was formed to address the lack of cultural space available for curators to develop and maintain a working practice in the Munster region of Ireland and was quickly established as a leading venue for curatorial projects with a focus on sonic, new media and live art, garnering several reviews, most notable from the Paper Visual Art, Avant and Enclave Review for Slevin’s own curated show ‘Uncanny Sounds’.
In 2012 he moved to Berlin, where he undertook a 10 month curatorial residency at the Waterloo Artspace. Over the 10 months he curated and facilitated over 15 experimental art events at Waterloo under the banner of Av format.
He lives and works between Cork, Ireland and Berlin, Germany.
To hear on Sunday 21 and 28 September 2014, 2pm - 9pm:
by Cathy Lane
Cathy Lane on 'Sweet Airs':
The wind is responsible for so many things in the Hebrides (remote islands off the west coast of Scotland). It hardly ever stops blowing. It has many characters and is accompanied by all kinds of other weather conditions. For a sound artist and composer making recordings in the islands the wind can be a curse, but it is more often a delightful carrier of the voices of people, animals, birds and things. These airborne sounds often come from far away, their source hidden from view, mysterious like the ‘sweet airs’ of Shakespeare’s play The Tempest - the sounds of a birthday party far across the island; sheep roaming the cliffs; people singing hymns together in a house; cows waiting to board the ferry to be sold on the mainland; snippets of a church service and the cries of different birds. The wind also has its own voices and activates the songs of other objects - gates, plants, leaves, fences. The wind is an accompaniment to all aspects of life on these unique islands.
Cathy Lane is a composer, sound artist and researcher. Her current interests include how sound relates to the past, our histories, our environment and our collective and individual memories; composing with the spoken word; field recording; listening; and how feminism and gender are manifested within sound art. Aspects of her creative practice have developed out of these interests and include composition and installation-based work with spoken word, field recordings and archive material. Books include Playing with Words: The Spoken Word in Artistic Practice (RGAP, 2008) and, with Angus Carlyle, In the Field (Uniformbooks, 2013), a collection of interviews with eighteen contemporary sound artists who use field recording in their work and On Listening (2013) a collection of commissioned essays about some of the ways in which listening is used in different disciplines. Her CD The Hebrides Suite was released by Gruenrekorder in 2013. Cathy Lane is Professor of Sound Arts at University of the Arts London and co-directs Creative Research in Sound Arts Practice (CRiSAP).
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