2015 / 2016
Since the beginning of 2015 'ohrenhoch, the Noise Shop' has been activating the theme 'Soundactivism'.
The manifesto WORDS 2016 - SOUNDACTIVISM by Knut Remond (Artistic director ohrenhoch) and Isabella Zamboni (art historian) is pinned on the wall at ohrenhoch from Sunday the 14th of February 2016.
- 4 and 11 January 2015: "Salt-Sculpting" sound installation by Martyna Poznanska (Germany, Poland)
- 18 and 25 January 2015: "Meine-Welt-Musik – 2. Symphonie" Op.148/2013 by Dieter Kaufmann (Austria)
- 1 and 8 February 2015: "Syria..as my mother speaks" by Christine Gedeon with sound artist Bent Bøgedal Christoffersen (USA, Denmark)
- 15 and 22 February 2015: "outcry" for Bassbox loudspeaker installation, by Knut Remond (Germany)
- 1 and 8 March 2015: "MOSCOW - (M)y Swo(O)ning (S)ends out (C)old (W)armth", by Elisabeth Schimana (Austria)
- 15 and 22 March 2015: "Black Ice" by Maggi Payne (USA)
- 29 March and 5 April: "Labor in the Territory of Hawaii, 1939" Installation for a single visitor, by Ludwig Abraham (Germany)
- 12 and 19 April: "Breathe Between the Lines / Atmen Zwischen Linien" - for Eric Garner, by Christopher DeLaurenti (USA)
- 26. April and 3 May: "Island" by Dean Rosenthal (USA)
- 10 and 17 May: "La rosa incarnata del suono" by Giuseppe Iacono (Italy)
- 24 May: "defeat" - audiodrama or psychosonic? - by Knut Remond (Germany)
- 14 and 21 June: "pájaro suelto" sound installation by Rubén D'Hers (Germany, Venezuela)
- 26, 27, 28 June and 5 July: "unerhört" by the ohrenhoch-Kids (Germnay)
- 12 and 19 July: "AGNES, TINA, LION & MATHIS" by Alois Späth (Germany)
- 26 July and 2 August: Extension "AGNES, TINA, LION & MATHIS" by Alois Späth (Germany)
- 9 and 16 August: "This Is For You (ohrenhoch, Berlin)" Tina M Pearson (Canada)
- 23 and 30 August: "Submerged: Silent Service" by Louise K Wilson (UK)
- 6 and 13 September: "Why is why of no stranger" by Stelios Manousakis (Greece)
- 20 and 27 September: "Democracy isn't just a Tweet away" by Shelly Knotts (UK)
- 4 and 11 October, on the 25th anniversary of German Unity: "Bring on the Magic of Coca Cola" for tape, by Knut Remond (Germany)
- 18 and 25 October: "Melbourne Calls" by Viv Corringham (UK)
- 1 and 8 November: "aus den Papierwerken 1" by Volkmar Klien (Austria)
- 15 November: "unlimited" by Knut Remond (Germany)
- 22 and 29 November: "Cynical Fragments" by Prune Bécheau (France)
- 6 and 13 December: "Preparations for an Imaginary Conflict" by Cathy Lane (UK)
- 20 and 27 December: "Sprachgerüste, Sprachgelüste" by Laura Mello (Germany, Austria)
- 3 and 10 January: "Ornaments II" by Ricardo Arias (Colombia)
- 17 and 24 January: "practice" by Yan Jun (China)
- 31 January and 7 February: piece without title by Patrik Lechner (Austria)
- 14 and 21 February: "thinking of you (fragments)" by Gaël Segalen (France)
- 28 February and 6 March: "smash cars, and LOVE" by Knut Remond (Germany)
- 13 and 20 March: "Tinnitus Studies" by Hui Ye (China, Austria)
- 27 March and 3 April: "El Pozo" by Cecilia Castro (Argentina)
- 10 and 17 April: "The Kitchen sessions: 4AM" by Sol Andersson (Sweden)
- 24 April and 1 May: "MÜNCHEN GOLLIERPLATZ" by Sylvia Necker (Germany)
- 8 and 15 May: "RHO" by Anna Stereopoulou (Greece)
- 22 and 29 May: "pars stridens" & "sublocation" by Daniel Lercher (Austria)
ALSO VISIT OHRENHOCH ON THE NEW 'COMPACT' WEBSITE ohrenhoch.berlin
To hear on Sunday 22 and 29 May 2016, 2pm - 9pm:
by Daniel Lercher
'pars stridens' is a composition the material of which mainly consists of unprocessed field recordings of crickets & cicadas in New Zealand, India and Australia.
In the middle part additionally high frequency resonators with partial tones of the stridulation (sound production) are activated.
The end is made by a field recording of a cave in Norway.
The composition 'sublocation' was created in 2016 as well, specially conceived for the loudspeaker installation 'BassBox' in the cellar of 'ohrenhoch, the Noise Shop'.
Here the psychoacoustic spatial perception of the recipients is influenced by means of very low-frequency signals and a granular spatialization, creating a discrepancy between the visual & auditive localization.
was born in rural Austria and today lives in Vienna as a freelance musician, composer and sound artist.
He completed the seminar for computer music and electronic media at the Universtity for Music and performing arts.
In his works he is concerned with electroacoustic compositions/improvisations, live electronics, photography, installations, music for dance & film, etc.
The list of his past activities includes concerts, installations & recidencies in Europe, Asia, America & Australia.
Numerous collaborations with musicians and artists home and abroad.
Website Daniel Lercher
To hear on Sunday 8 and 15 May 2016, 2pm - 9pm:
by Anna Stereopoulou
RHO is presented in the Audio Booth (a fixed loudspeaker installation designed by Knut Remond, based on an idea by Jacob, ohrenhoch-Kids)
Anna Stereopoulou on 'RHO':
Noise = Calming or Masking?
Womb = Safety or Imprisonment?
Obstacle = Restriction or Challenge?
Start = Crickets or Cicadas?
Memory or Dream? Death or Life? Question or Answer?
Multiple, Contrasting Views of the Whole; a Sonic and Verbal Anamorphosis
RHO was composed by Anna Stereopoulou between February and March 2016, as commissioned by 'ohrenhoch, der Geräuschladen' (ohrenhoch, the Noise Shop) Sound Gallery (Berlin-Neukölln, Germany). The Audio Booth, for which the present composition was designed, functions as a simulation of a Womb, while an extra material was requested by the artist, to be added onto the installation. Also, the installation’s structure and speakers’ set-up, motivate the listener to focus on Feeling (vibrations), rather than just Listening. The Listener /Spectator is invited to listen, either inside or outside the booth, and either standing or seated.
The duration of the composition is based on a (repetitive) 20-min Sleep Cycle, whereas its title represents the eternal Flux, heard in the sound of Water traveling to any direction and functioning both as a transmitter and a receiver. Greek liquid consonant letter 'Rho' [/ˈroʊ/; Greek: ῥῶ (polytonic)] enters-and- exits our Ear (German: Ohr).
RHO has an ecological, social-cultural and psychoacoustic character and it is inspired by ancient Asclepeions and the healing power of Water and Dream.
Recorded, Mixed, Produced by Anna Stereopoulou [February-March 2016] [Recording Locations in Greece (Running Water and other sounds)]
• Vyzitsa village, Pelion mountain (Spring in the forest; Cicadas)
• Panagia village, Thassos island (various Springs and Brooks)
• Entrance of the Strait of Nestos river, Galani, Thrace (River; Crickets)
• Bank of Podoniftis river's stream, Patissia, Attica
• Portico of Avaton or Enkoimeterion (dormitory) of the Sanctuary of Asclepius, Ancient Epidaurus (Rain)
• Ancient Theatre of Epidaurus [Tourist guide and visiting Students of American School testing the Acoustics (Clapping in Circle; recitation of William Shakespeare's 'A midsummer-night's dream' (excerpt, Act 3, Scene 2)]
• Sawing of Cardboard box (Balcony in Athenian neighbourhood)
All sounds recorded with a Zoom H2n Digital Audio Recorder
Style: Acousmatic, Dark Ambient, Experimental, Soundscape
Audio Field Report no. 47 / Soundactivism 26: Interview with Anna Stereopoulou by Knut Remond. Limited Edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
Anna Stereopoulou has achieved to combine her music with modern art movements and world cultures, as well as with other Arts and Sciences and has developed a genre she likes describing as «sonic moving images». She specialises in the field of Music Composition for Film & TV, but has also taken on the task of organising and overseeing Audio-Visual /Multi-Media concerts, inspired by researching various subjects.
In Spring 2016, Anna joined No Man’s Land, one of the most renowned Greek psychedelic /progressive rock bands.
To hear on Sunday 24 April and 1 May 2016, 2pm - 9pm:
A city-space-sound network of relationships
weaved and untangled by Sylvia Necker (Hamburg/Munich)
composed and produced in 2016 as a two-part sound work for ohrenhoch Berlin
Sylvia Necker on 'MÜNCHEN GOLLIERPLATZ':
In 2014 the sound worker and historian Sylvia Necker completely unexpectedly ended up in Munich. She found her new working and dwelling place at the Gollierplatz in the Munich Westend. During her being on-site and hearing the site the urban space was perceived by her increasingly as an acoustic network of relationships. MÜNCHEN GOLLIERPLATZ makes hearable eight different sites at Gollierplatz and follows up the sound correnpondences: two churches, a school, a bank, the tavern, the children's playground, the fountain and Germany's last home for single male persons are the site references of this sound work. Besides the sound characteristics of the eight sites voice-overs to the perception of the Gollierplatz in April 2016 are heard as well as soundtracks, which Sylvia Necker recorded with synthesizers, double bass and percussion.
In 'Soundactivism' it says "ohrenhoch is a command to offer to the public a conscious perception of the acoustic and implicitly political, social, individual environment. Unfold the spectrum. Fathom the agency of the acoustic. A hearing enlightenment. Impact beyond sound." MÜNCHEN GOLLIERPLATZ wants to sound-unfold, sound-fathom, sound-enlighten and sound-impact.
Audio Field Report no. 46 / Soundaktivismus 25: Interview with Sylvia Necker by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and can be heard in the ohrenhoch archive on headphone).
Dr. Sylvia Necker lives and works in Hamburg and Munich as an exhibition maker, historian and sound worker. As a sound worker and radio maker she deals with experimental music and composes audio pieces as well as soundscapes. As a live performer she can be heard preferably as an electronician and percussionist as well as with keyboard and wind instruments. Since some years Sylvia Necker has been performing with her 'Space Station', an idiosyncratic equipment with several meters of cable, control buttons, electronic sound generators, effect units and a computer, with which she produces atmospheric ambient sounds as well as scratchy nasty noise sounds.
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