To hear on Sunday 19 and 26 March 2017, 2pm - 9pm:
(2016) Audioinstallation, 8 Min. Loop
by Albert Raven
Albert Raven on 'Ich Weiss Nicht (I Don't Know):
I think of doubt not as an absence of knowing, but rather as another form of knowing; an un-knowing, or dis-knowledge, a pre-stage of knowing, or maybe even a multi-knowledge (after all, it contains lots of yet unknown knowledge). It is a liminal phase, one you shouldn’t fear or try to fill with certain knowledge as quickly as possible, but one that you can use to get ahead, to get somewhere you would never had gotten to if you had only known, instead of un-known.
(2014) Audioinstallation. Piece for two violinists and Whispering Wall, 7:55 min.
by Albert Raven
Albert Raven on 'Deduction (Deduktion)':
A violin is a very specific instrument. Each violin is different, each note unique. A violin often has one or more notes that sound bad, or need a lot of effort to sound good, called Wolf tones. Violinists have a personal relationship with their instrument and with each note: some notes are dearly loved, others can be truly hated. The piece Deduction consists of just one note, played by two violinists. One of them considers this note to be the absolut favorite. The other however hates this note intensely.
ABOUT THE WHISPERING WALL PROJECT
The WHISPERING WALL is a collective of portable, interactive, individual audio devices. Connected through the internet, these sound-units play audio works, stored in a virtual cloud. Each Whispering Wall performs its own, specific Work. It’s a global, Internet-of-Things work of art.
ABOUT SOUND ACTIVISM
Sound Activism is a contradiction in terms. To be able to listen, I have to stop doing things. As long as I am active, I don’t listen. I may think I do, but I don’t. Listening is passive, not active.
Activism in itself is a contradiction as well. When I try to actively change the present into a future, I’m trying to build something new using the material from the old. I’m trying to find a solution from within the parameters of the problem. That won’t work: rethinking the future from the present simply means extending that present, preventing what could be the future from happening. Changing the present and calling it the future does not work either. Future won’t have it. That’s why revolutions devour their children: when future comes, past goes.
Time is relative. But I can only recognize this relativity from outside the system I am in. The same goes for the present: I need to not be in the present to see its relativity. I cannot change the present to make a better future. I cannot change the future either, because I am not in it. If I want a better future, I must stop being in the present.
The only way for change to happen, is to stop doing what I am doing. I have to let go. This is what I do as an artist on a daily basis: leaving the old, finding the new. My work shows what I don’t (or at least didn’t) know. When past goes, future comes.
Albert Raven 2017
Audio Field Report no.60 / Soundactivism 39: Interview with Albert Raven by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
My work is about change and resistance to change, and consequently about time. Driven by the notion that what we call ‘Time’ does not exist, I question this world-without-time, using sound by means of my Whispering Wall project (audio- works, performed by a collective of small interactive internet-of-things devices) and image by the use of photography.
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)
- 5, 12 and 19 June: "Scorched Earth" (ohrenhoch remix 2016) by Lauren Sarah Hayes
- At the Art Festival 48 Stunden Neukölln and on the ohrenhoch Sundays 3 and 10 July: "ACTIVE COLORIZE" by the ohrenhoch-Kids and Knut Remond
- 17 and 24 July: "cozy new gastfeindlichkeit" by Julia Mihály (Germany)
- 31 July and 7 August: "Kindernacht", or "The Night of the Children" by Gisela Frick Hassenberg (Chile)
- 14 and 21 August: "You Will Understand It, When You Come Alone" by Eric Dickson (USA, Berlin)
- 11 and 18 September: "Dead or Ice Cream" by Knut Remond (Deutschland)
- 25 September and 2 October: "In the Throats of Trees" by Stephanie Loveless (Canada)
- 9 and 16 October: "acoustic turntable" by Andreas Trobollowitsch (Austria)
- 23 and 30 October: "Fehlberliner U-Wirr" by Jaap Blonk (Holland)
- 6 and 13 November: "Thinking of you (fragments)" by Gaël Segalen (France)
- 20 and 27 November: "Dry/Friction" by Khaled Kaddal (Egypt)
- 4 and 11 December: "Je suis in the kitchen" by Bernadette Johnson (Switzerland)
- 18 and 25 December: "Vote on Voting" by Yan Jun (China) & Mattin (Spain)
- 8, 15, 22 and 29 January: "FUKUSHIMA 2011-2017" by Tetsuo Furudate and Tsutomu Otsuka (Japan)
- 5 and 12 February: "Salton Sublime" by Roxanne Varzi (USA)
- 19 and 26 February: "TRASH MUSIC" by Lucie Vítkovà (Czech Republic)
- 5 and 12 March: "untitled #337" by Francisco López (Spain)
- 19 and 26 March: "Ich Weiss Nicht (I Don't Know)" / "Deduction (Deduktion)" by Albert Raven (Netherlands, Berlin)
ALSO VISIT OHRENHOCH ON THE NEW WEBSITE ohrenhoch.berlin
To hear on Sunday 5 and 12 March 2017, 14:00 - 21:00 Uhr:
Created at ‘mobile messor’ (worldwide), 2014-2015.
by Francisco López
Francisco López on 'untitled #337':
- A composition between sound piece and sonic environment.
- Generated by means of the ‘Low-resolution High Definition Lopezsonics’® system (LHDL) [at 16kbps / 16-bit].
- This 80-minute piece comes in an audio file of 9.6 MB (yes, Megabytes). This is a size rate nearly 100 times smaller than a prototypical CD-standard or .wav file audio “quality” (44 kHz / 16-bit).
- Crucially, however, this is not a compressed version of any original file but rather the actual file-piece as it has been conceived and created. All sonic artifacts have been deliberately generated, selected and maintained for aesthetic reasons.
- Play at maximum volume.
Unlike the tedious customary traditional recommendation, this is not a loud piece but rather a very subtle one, where the essential sonic details will only be audible –and audible in the right way- at maximum volume (no loud surprises or irresponsible tricks).
[This apparent paradox is explained by intentional subsonics, which actually produce a file-piece with strong amplitude levels (easily seen in the waveform or volume indicators, for those interested) that make impossible an undistorted increase in perceptible volume in the file itself.]
- Please use decent headphones or speakers. Typical laptop or handheld-device speakers will render completely inaudible sound (thus generating even more tedious reactions of the head-scratching kind, like “there’s no sound”, “it’s a conceptual silent work”, and crap like that).
- This piece comes with no artwork.
- Conceived to be easily distributed, in a direct personal way, as a simple email attachment (below the current size standard of 10 MB maximum), without even the need of a classic website-based download. Feel free to re-distribute and disseminate.
Audio Field Reports nos. 1-59 / soundactivism 1-38: Interviews since January 2014 with the individual artists, concept and design by Knut Remond. Limited editions audio cassette, each 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
Francisco López is a sound artist and experimental musician. For more than thirty five years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion.
He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in over seventy countries of the six continents. His extensive catalog of sound pieces (with live and studio collaborations with over 150 international artists) has been released by more than 350 record labels / publishers worldwide. He has been awarded four times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of the Qwartz Award 2010 for best sound anthology.
To hear on Sunday 19 and 26 February 2017, 2pm - 9pm:
Electroacoustic piece / sound installation
by Lucie Vítková
Lucie Vítková on 'Trash Music':
The Trash Music piece follows my interests in ecology and environment. Since autumn 2016, I have been discovering how to play the trash and learning about its music.
Fascinated by the objects of everyday use and their sonorities, I gathered a set of sound sources while reusing materials such as cans, polystyrene, different kinds of paper, used tape and aluminum foil, plastic boxes, pins and rubber bands.
Some of these objects, I rebuilt into new instruments and played them along my accordion, harmonica, hichiriki and voice, creating a dialog and bringing the trash aesthetics into my background of classical accordionist.
The music of trash is unfortunately spreading around with general wasting of materials. The Trash Music piece is a reminder to reuse and recycle so we don´t cover the voice of the Earth completely.
Audio Field Report no. 59 / Sound activism 38:
Interview with Lucie Vítkovà by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
I am a composer, improviser and performer (accordion, harmonica, voice and tap dance) from the Czech Republic. During my studies of composition at Janáček Academy of Music and Performing Arts in Brno (CZ), I have been a visiting scholar at Royal Conservatory in The Hague (NL), California Institute of the Arts in Valencia (USA), Universität der Künste in Berlin (D) and recently at Columbia University in New York with Prof. George E. Lewis.
My compositions focus on sonification (compositions based on abstract models derived from physical objects), while in my improvisation practice I explore characteristics of discrete spaces through the interaction between sound and movement. In my recent work, I am interested in the musical legacy of Morse Code and the social-political aspects of music in relation to everyday life.
In Berlin, I have organized Temporary Ensemble and Experimental Music Orchestra of UdK. Along my studies in New York, I have been nominated on 2017 Herb Alpert Awards in Arts in category of Music and I have put together two ensembles – NYC Constellation Ensemble (focused on musical behavior) and newly OPERA ensemble (for singing instrumentalists).
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