To hear on Sunday 27 July and 3 August 2014, 2pm - 9pm:
by Alan Nakagawa
Alan Nakagawa on 'Conical Sound Test 1b' [26:53]:
Conical Sound Test 1b is a combination of field recordings of various interior spaces of Barcelona architecture by Antoni Gaudi and Los Angele’s iconic outsiders art, Watts Towers by Simon Rodia. Both used conical design throughout their work and I was striving to create a sound environment that plays with omnipresence and invisible architecture.
Alan Nakagawa has worked primarily in sound and has been creating audience participatory sound experiences for the past decade. Drawing from diverse influences such as the Integratron Sound Bath in Joshua Tree CA, the frequency cluster studies of 1930’s scientist Royal Rife or his fascination with ultra-sonic communication of bats and marine mammal, Nakagawa has created a repertoire of installations and sound works that breakdown and then expand our understanding of listening.
His primary sound sources are field recordings, analog effects boxes, oscillators, and his invention the Iso Cube which is a mini-isolation box that houses objects and allows him to processes odd textures and pseudo-rhythms using micro percussion which he loops and builds into what he terms as “thick chords”.
To hear on Sunday 13 and 20 July 2014, 2pm - 9pm:
by Annabel Frearson
Annabel Frearson on "I" [10 min.]:
The sonic representation of nine words from Mary Shelley’s novel ‘Frankenstein’ (1831), which could be said to sum up the basis of the story, as well as the birth of subjectivity. The sounds are sampled from a recent filmic bastardisation of the story. ‘I’ also charts Frearson’s evolving familiarisation with sound editing technologies.
Annabel Frearson (b. 1968 UK) has participated in exhibitions and events including at Shiraz Artist House, Iran; Cafe OTO, IMT Gallery, Camden Arts Centre, LUX/ICA Biennial of Moving Images, V&A Museum, Whitechapel Gallery, London; Arnolfini, Bristol; Ikon Gallery, Birmingham; Haifa Museum of Art, Israel, and Sheppard Fine Arts Gallery, Reno, USA. In 2012 Frearson had a solo show at xero, kline & coma in London.Frearson studied modern languages at Bristol University and fine art at Central St Martin's (University of the Arts) and the Slade School, UCL. She has recently submitted a PhD in art practice at Goldsmiths College, London.
At the Art Festival 48 Stunden Neukölln 2014 with the theme 'Courage'
the ohrenhoch-Kids present:
"33 ⅓" by John Cage continuously, and self-created solo sound performances
Director and mentor of the ohrenhoch-Kids: Knut Remond
At the festival 48 Stunden Neukölln:
Friday 27 June: 7pm - 11pm
Saturday 28 June : 2pm - 11pm
Sunday 29 Junie: 2pm - 9pm
Additional presentation on the ohrenhoch Sunday:
Sunday 6 July: 2pm - 9pm
The ohrenhoch-Kids, between 5 and 12 years old, allude to the theme "Courage" in presenting "33 ⅓" (1969) by John Cage continuously, and self-created solo sound performances.
Their acquaintance with Sound Art and Electroacoustic Music since several years qualifies the ohrenhoch-Kids to stage a piece of one of the most important composers of the 20th century: "33 ⅓" by John Cage. The visitors can participate. The duration of the piece is unlimited.
For 33 ⅓ by John Cage 8 turntables are placed in the space and numerous diverse 33 ⅓ records are placed at the disposal. The visitors can choose from the records. Each turntable has a technical assistant (ohrenhoch-Kids) playing the records. The visitors are the performers because without them nothing is heard.
In addition to this the ohrenhoch-Kids conceived their own solo music performances and solo pieces, which they will present in a daredevil approach - parallel to the staging of "33 ⅓" by John Cage.
"The ohrenhoch Newspaper", created and designed by the ohrenhoch-Kids with own texts and pictures, is published on the occasion of their production "Tollkühn" at the festival.
In the Audio School, the ohrenhoch-Kids learn, research and experiment. Starting from their own ideas they realise their projects with noises and sounds, on fixed media and with sound installations. The pedagogical basis is to meet the children at equal eye level and as fully-fledged members of the society. Director and mentor of the ohrenhoch-Kids: Knut Remond
Sponsors: ION Audio, Musikhaus Thomann, ZOOM.
The 'ohrenhoch Sundays 2014' are supported by Initiative Neue Musik Berlin e.V. and Konzert des Deutschen Musikrates
To hear on Sunday 15 and 22 June 2014, 2pm - 9pm:
by Louise K Wilson
Louise K Wilson on 'Duet for One: Intangible culture':
I am interested in how language is acquired, acts of translation and the mistakes made audible when learning new songs by ear. The vehicle for this is Silent Night, Holy Night (written in Austria in 1818) – a Christmas carol that is on UNESCO’s national list of ‘Intangible Cultural Heritage’ (formalising the idea that cultural heritage is transmitted from generation to generation in adaptable forms such as music, language and ritual). The song has acquired an enduring mythology – a hundred years ago it was reputedly sung by German and English troops in the brief and unofficial cessation of hostilities in World War One (the ‘Christmas Truce’). Polly, my daughter of five, learned the song at school and we sometimes sing it together at night in order to get her to sleep. In the recording she is singing into a ‘Groovy Tunes’ plastic toy microphone containing a spring reverb-type mechanism. As such, this continues my interest in the simulation and archiving of different resonant acoustic spaces. This field recording was made in the attic of our home.
Louise K Wilson is a visual artist who makes installations, live works, sound works and single channel videos. Recent exhibitions include Duke’s Wood Project (2013); Mistaken Presence (Greyfriars, Lincoln, 2012); Topophobia (Danielle Arnaud Gallery, London; Bluecoat Gallery, Liverpool and Spacex Gallery, Exeter, 2012); SOUNDWORKS (ICA, London, 2012); Re-sounding Falkland on the Falkland Estate (Scotland 2010, made with David Chapman), I Hear Too: Live (York Minster 2009) and Post-Cinema (RMIT Project Space, Melbourne 2007). Her current research uses the medium of sound to ask philosophical and material questions about the spatio-temporal physicality of certain sites and our perceptions of them. She has travelled to numerous (military and scientific) sites including nuclear submarines, US listening stations, university halls, marine research environments, rocket launch sites and disused RAF bases in pursuit of the acoustics of resonant spaces.
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