The ohrenhoch-Kids present at the Kunstfestival 48 Stunden Neukölln 2019 (Festival theme Future III), and on five more 'ohrenhoch Sundays':
Friday 14 June: 19:00 - 21:00 Uhr
Saturday 15 June: 14:00 - 22:00 Uhr
Sunday 16 June: 14:00 - 19:00 Uhr
... and on the ohrenhoch Sundays
Sunday 23 and 30 June, 7, 14, 21 July 2019
'ohrenhoch - the Noise Shop' is a Sound Gallery for the presentation of international Sonic Art, and a School for children from 5 to 14 years old. ohrenhoch is located in Berlin - Neukölln.
In the Sound Gallery, over a particular sound-architectural loudspeaker installation, every Sunday a fixed media work is presented in loop mode from 2pm to 9pm. A special focus is thereby on the perception of a single work, removing beginning or end of the piece.
In the ohrenhoch 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.
The real meaning of life is to fathom moments of the eternal NOW / The ohrenhoch-Kids go backwards into the future / Creativity needs opposition.
„The world will be saved, if it can be, only by the unsubmissive.“
(André Gide)
"In der Zukunft war alles besser" is a production by the ohrenhoch-Kids with their mentor Knut Remond.
To hear on Sunday 2 and 9 June, 28 July, 4 August 2019, 2pm - 9pm:
A comment on Brexit.
Composed and produced
by Sylvia Necker
for the Sound Gallery „ohrenhoch“ Berlin, June 2019
Curator, loudspeaker installation: Knut Remond
Sylvia Necker on her piece 'Acoustic Empire':
On 23 June, 2016, the British held a referendum on whether leave or remain in the European Union. Ever since, the country has been deeply riven and no one knows how to resolve the tensions between the two camps. While the ‚remainers' still are hoping for a second referendum, ‚brexiteers‘ envision a new British empire. For the sound piece ‚Acoustic Empire‘ the German sound artist Sylvia Necker will set up sound routes along the trade routes of the British Empire. She will tie them in with contemporary debates, which she picked up in newspapers, radio programmes, and conversations with neighbours and colleagues in Nottingham. By merging these contemporary voices with the history of the British Empire, Necker acoustically comments on the Brexit process – a process that involves all of us either as British or as European citizens.
Neckers’ sound piece consists of two parts that emblematise two colonial trade routes of the British empire: Liverpool-Lagos and London-Dehli. The distance between the cities will equal the duration of the respective part: It’s 7,216 kilometres from Delhi to London and 5,261 kilometres from Liverpool to Lagos. So the two pieces will have a duration of 7:22 min and 5:26 min. The exhibition space of the sound gallery ‚ohrenhoch‘ will not only resonate political debates on Brexit but also sounds and music of the former colonies of Great Britain, to which Necker will add her own sound snippets played on electric guitar and synthesizers. At times the two sound routes – Liverpool-Lagos and London-Delhi – will intersect and produce an overlay, which becomes a metaphor for the various protagonists of the Brexit process, who are willing to drown out each other’s opinions.
Audio Field Report no. 46, soundactivism 25: Interview with Sylvia Necker by Knut Remond (April 2016). Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive space).
Sylvia Necker – a Nottingham (UK) and Frankfurt/Main (GER) based sound artist, curator and historian – , experiments with electronic music, field recordings, sound art, electro-accoustic sounds and free improvised music. Her preferred instruments are synthesizers, all kinds of electronic devices, piano, percussion and reeds. She has performed in theaters, museums and galleries such as „Heilig Blut“ (2018, Theater Landungsbruecken Frankfurt/Main), „Weisses Rascheln“ (2017, oqbo Art Gallery Berlin), „Muenchen Gollierplatz“ (2016, Ohrenhoch Art Gallery Berlin) and for the soundtrack of the photo work „Mischlinge (2015) by the New York based photographer Marc Babej.
Website Sylvia Necker
To hear on Sunday 5, 12, 19, 26 May 2019, 2pm - 9pm:
some listening-exercises
(2019, Premiere)
by Rilo Chmielorz, Berlin
and Anna Homler, Los Angeles
Curator, loudspeaker installation: Knut Remond
Rilo Chmielorz on 'do not listen with half an ear":
It is such a nice paradox: "Listening with half an ear!" There doesn´t exist half an ear. There is one ear or there are two ears. The linguistic paradox refers to an inattentive listening. An inattentive listening doesn´t fit at all to SOUNDACTIVISM. The OHRENHOCH-KIDS are right in telling us: "Hearing is work." Here comes the idea up of creating several miniatures - something like "listening-exercises " - titled:
DO NOT LISTEN WITH HALF AN EAR
It is an ironic, laconic lecture focusing feedbacks and parasites coming out of my acoustic casket and analogue sounds from the time when the reproducibility of sound was a new technical achievement such as a transistor-radio, catching the radio-waves flying all around us, and a phonograph. The latter one plays only "mono" - with „half an ear“ (?).
"Hearing is work" - we should practise. In times of media-overflow and discursive erosion our ears should be cleansed and our eardrums should have a massage. This is mainly the duty of the parasites and feedbacks - they are the masters of acoustic massage.
I sent some sound-pieces to Los Angeles. Anna Homler reacted on them:
Toys and voice were coming back from L.A. - and Anna wrote:
„In this project, one of sonic exchange, I tried to converse with Rilo's sounds.
Her soundscapes were very particular and I wanted to respond with very specific
sounds that created complement or contrast. This sound world is very
inviting to me and I hope others will enjoy it, too“.
And I wonder if Anna is telling us a fairytaile in a strange ancient, indigenous language of the hare, which denied to prick up his ears ….
There is no starting point and no end. The process is going on. Just like soundactivism.
An ongoing loop at „ear level“.
(Thanks to the OHRENHOCH-Kids Benjamin and Aila for their collaboration)
Rilo Chmielorz
is a multi-media-artist based in Berlin - working in the field of radio-art, soundart-compositions, radio-features and radio-theater as well as writing.
In 2002 she obtained the Production Award of the radio WDR, studio for acoustic arts within German Sound Art Award. Public and private collections include her work. She has presented countless individual exhibitions, concert/performances, and sound installations in galleries, museums and international music- and soundart-festivals in Europe, Mexico, Cuba and Hongkong.
Anna Homler and Rilo Chmielorz performed together in several occasions in Cologne in 2000 and 2002 at Joachim Zöpfs „WERFT“.
Anna Homler
is a vocal, visual and performance artist based in Los Angeles. She has performed and exhibited her work in venues around the world. With a sensibility that is both ancient and post-modern, Homler sings in an improvised melodic language. Her work explores alternative means of communication and the poetics of ordinary things. She creates perceptual interventions by using language as music and objects as instruments.
Website Anna Homler
To hear on Sunday 21 and 28 April 2019, 2pm - 9pm:
(2013)
by Maggi Payne
Curator, loudspeaker installation: Knut Remond
Maggi Payne on 'Black Ice':
This work is an exploration of space and time, and especially of depth and height. Layers frequently shift, as demonstrated in the beginning where crackling is so present—almost seeming to emanate from the listener. The underlay provides a distanced atmosphere, almost a nebula, that moves towards, through, then past the listener, passing through the crackles while modifying their molecular structure and turning them to mist as they slowly recede.
All of the sounds are generated by the Moog IIIP. Many are raw; some are further actively eq’d to provide a further dynamic quality to the work. It was composited using a Pro Tools DAW.
Although I’ve used bits and pieces of sounds I created using the Moog synthesizer in my work from time to time, in mid-December of 2013 I had an overwhelming urge to escape into the Moog IIIP studio at Mills College to spend some quality time generating sounds and recording them to a pair of Sound Devices. It‘s fascinating to me just how flexible that instrument is.
As with any fine instrument, it fundamentally remains the same, but the way one approaches the instrument changes considerably over time. Its open architecture has allowed quite varied aesthetic and technical approaches to the instrument over the decades since it was first built.
Audio Field Report no. 27 (February 2015):
Interview with Maggi Payne by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive space).
Maggi Payne
In her works Maggi Payne architects/sculpts the acoustic space so that the sounds build a geometric shape, then reorient, contract, or expand to an entirely different shape, shrink to a pinpoint, then stretch again to form yet another “world.” At times multiple spaces coexist. There is always a sense of “place,” an atmosphere, in these acoustic constructs. The sounds are choreographed, as if they are dancers in three-dimensional space, with no walls, ceilings, or floors to constrain them.
Her electroacoustic works often incorporate visuals she creates using images ranging from nature to the abstract. She has composed music for dance, theatre, and video, including the music for Jordon Belson's video Bardo. She collaborated for years with video artist Ed Tannenbaum in his Technological Feets performances.
Her works have been presented in the Americas, Europe, Japan, Hong Kong and Australasia. She received Composer's Grants and an Interdisciplinary Arts Grant from the National Endowment for the Arts, and video grants from the Mellon Foundation and the Western States Regional Media Arts Fellowships Program, and received five honorary mentions from Bourges and one from Prix Ars Electronica.
Works appear on Aguirre, The Label, Innova, Starkland, Lovely Music, Root Strata, Music and Arts, Centaur, Ubuibi, MMC, New World (CRI), Digital Narcis, Frog Peak, Asphodel, and/OAR, Capstone, and Mills College labels. Excerpts of her videos are available on Vimeo.
Website Maggi Payne
To hear on Sunday 24 and 31 March, 7 and 14 April 2019, 2pm - 9pm:
(2018)
by Annabel Frearson
Annabel Frearson reads Sic, a paragrammic rewriting of Mein Kampf by global micro workers, as a critique of contemporary fascism. A paragram is a verbal play that reorders the letters of existing words and phrases.
Thus, Sic intends to undermine Hitler’s text by rendering it deviant and to liberate the language contained therein by quite literally rewriting history. Sic enacts a material textual violence through an absolute dissolution of the original narrative and regurgitation as heterological mass comprising anagrams, disjunctive sounds and unspeakable interminglings of lettristic parts, rendering the antisemitic as antisemantic. The readings are recorded in a variety of contexts so as to re-entangle the liberated language with the material world.
Audio Field Report no. 11 (June 2014):
Interview with Annabel Frearson by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and to hear on headphone in the ohrenhoch archive).
Annabel Frearson
My artistic practice is interdisciplinary, with a focus on expanded, conceptual art writing. I work with historically significant cultural objects, such as texts and films, through which I explore contemporary theoretical and socio-political concerns.
Recent publications include:
• Sic: commissioned by the International Literature Showcase (ILS), co-funded by British Council, Writers Centre Norwich and Arts Council England, comprising a paragrammic rewriting of Mein Kampf (Hitler 1925) by global micro-workers through online gig-economy platforms, as an exploration of contemporary fascism.
• Affectation Correspondence, Tombstone Press, 2017: A work of science fiction written using only words from Frankenstein (Shelley, 1831).
Exhibitions and projects have featured at: Camden Arts Centre, LUX/ICA Biennial of Moving Images, V&A Museum, Whitechapel Gallery, IMT Gallery, xero, kline & coma, London; Arnolfini, Bristol; Ikon Gallery, Birmingham; Haifa Museum of Art, Israel; ohrenhoch, Berlin; Shiraz Artist House, Iran; Golden Thread, Belfast; and Sheppard Fine Arts Gallery, Reno, USA.
I studied modern languages at Bristol University and fine art at Central St Martin's (UAL) and the Slade School, UCL. In 2014, I completed a PhD in art practice at Goldsmiths, University of London.
I teach art and critical studies at: Imperial College London; Goldsmiths College; Kingston University; Sotheby’s Institute of Art.
Website Annabel Frearson
ohrenhoch presents on Sunday 24 February, 3, 10, 17 March 2019, continuously from 2pm to 9pm:
It grumbles, jerks and yearns...
artificial or real?
(2019, Premiere)
by Bernadette Johnson
Curator, loudspeaker installations: Knut Remond
‚Test Tube‘ is already the third new work for ‚ohrenhoch‘ by soundartist Bernadette Johnson (2013: „Playscapes, Take A: Beethoven in the Hills“; 2016: „Je suis in the Kitchen“)
Bernadette Johnson on 'Test Tube':
The development of systems which can recognize, interpret, process and simulate human emotions goes ahead. This provokes questions: Where is the difference between artificial and real? What happens to indefinable moods?
In „Test Tube“ the measurement of human emotions is the topic.
Sounds and noises from our everyday life, which draw, reform and manipulate subconces emotions, are collected. This audio material is nested, taken apart or condensed in sound balls. Spoken words describe a possible meaning.
Fictive scenarios and undefinable ambiances arise and disappear again. It grumbles, jerks and yearns...
In this interplay/counterplay of fragmented ambiaces, the borders between artificial and real are demanded and varied.
Audio Field Report no. 58 / Sound activism 37: Interview with Bernadette Johnson by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive space).
Bernadette Johnson
The Swiss Audioartist Bernadette Johnson lives in Basel. She is author of acoustical poems and audio pieces for Radio and other listening rooms. For her sound works she was awarded among others the Karl Sczuka Promotion Prize and was a laureate of Phonurgia Nova.In her audio-visual work as well, B.J. leads us through extra-semantic areas. Auditory perseption is observed, questioned and „disturbed“. It's a matter of tracing otherwise parallel and hidden experience spaces.
To hear on Sunday 27 January 2019, 2pm - 9pm:
by Knut Remond
for Christa my mother
(27 December 1931 - 22 January 2019)
www.ohrenhoch.org
Soundgallery: ohrenhoch-Sonntage
13 and 20 January, 3, 10, 17 February 2019, 2pm - 9pm:
2 works by Martyna Poznańska
(2018) video
(2018) stones, brass plate, transducers, electronics
Martyna Poznańska on 'next of skin' [6:18 min.]:
'Next of Skin’ (2018) is a continuation of the work‚ ‚My Body Is The Forest, The Forest Is My Body’ (2017). It conceptualizes the relationship between human body and the body of nature treating them as one organism. Seeking to remove the boarders and searching for a sensitive, intimate and direct contact embraced in a reciprocate rhythm.
In this video Martyna wants to become a forest, to return her body to the natural environment, where it belongs. She lies down and gradually envelops herself with whatever organic matter her body encounters on its way.
She feels that, through this very physical and intimate experience of giving her body into the environment, she can perceive it from a closer and purer perspective.
It is an ongoing project in which Martyna is searching for new forms of connections with the environment using her own body and opening it to various textural intimacies.
Martyna Poznańska on 'Unheard Life of Stones':
The Unheard Life of Stones is a sound sculpture and an artificial environment, which intends to create movement within apparently immobile and solid matter such usually a stone is considered. Since the process of petrification and various stages of transition of stones most of the times exceed our own lifespan they are occult and imperceivable. We can only assume a stone which is not yet a stone or observes an already stone. The piece reflects upon perpetual processes which happen in nature without our knowledge nor participation due to our transient existence.
The stones excited with low frequencies reveal in an exaggerated way the atomic exchange between their bodies which are now intertwined in an uncanny and imposed dance.
Audio Field Report no.22:
Interview with Martyna Poznańska von Knut Remond, artistic director and curator ohrenhoch. December 2015. Limited edition MC Kassette, 8 copies numbered. To hear on headphone in the ohrenhoch archive space.
Martyna Poznańska is a cross-disciplinary artist who works with different media across disciplines, building connections between the intangible medium of sound and solid matter. This includes the practice of listening and field recording in tangent to working with various visual tools such as drawing, video, mixed media, found objects, and writing.
She has exhibited and performed internationally in shows at the Akademie der Künste, Berlin (DE), Deutsche Oper, Berlin (DE), Aperto Raum Berlin, among others. In addition, she has worked with renowned artists such as Hans Peter Kuhn (Übergang, Martin-Gropius-Bau Museum, Berlin, 2017), and Peter Cusack. In 2013 she was a recipient of a grant from the Polish Ministry of Culture.
Martyna completed a master’s degree in Spanish Language and Literature at Jagiellonian University in Krakow, Poland, 2010. She studied Sound Art at the University of the Arts, London (LCC/UAL). In 2016 she obtained an MA in Sound Studies at the Universität der Künste Berlin (UdK).
Martyna lives and works in Berlin.
Website Martyna Poznańska
To hear on Sunday 9, 16, 23, 30 December 2018, and 6 January 2019, 2pm - 9pm:
Lifetime project
by Neo Hülcker and Elsabeth R. Hager
Curator, loudspeaker installation: Knut Remond
Elisabeth R. Hager and Neo Hülcker on 'TAGE':
"ohrenhoch, der Geräuschladen" has been presenting already four times since 2013 the lifetime project "TAGE" by Neo Hülcker and Elisabeth R. Hager.
Neo Hülcker and Elisabeth R. Hager bound themselves by contract with each other on the 25.5.2011 to pronounce the date every day making a sound recording of this act up to their death. Over the days, months, years, the lifetime project "TAGE" creates soundtraces of two friendly lives. TAGE is a study on the aging process of the voice and - in the most general sense - an audibilisation of lived time.
At the presentations on 9, 16, 23, 30 December 2018 and 6 January 2019, all the vocally retained TAGE (DAYS) until now will sound in the ohrenhoch cellar over a special loudspeaker installation.
On Sunday 9 December at 6pm there will be an Artist Talk with Neo Hülcker and Elisabeth R. Hager in which the two will perform the text "Die Zeit ist mehr so ein Kuckuck" by Elisabeth R. Hager. The recorded text will be heard through headphone on the ohrenhoch Sundays 16, 23, 30 December 2018 and 6 January 2019.
Audio Field Report no.21:
Interview or 12 minutes are a DAY.
Side A: "12 minutes are a day" by Elisabeth R. Hager
Side B: "12 minutes" by Neele Hülcker
December 2014
by Knut Remond, limited edition MC cassette, 8 copies numbered.
To hear through headphones in the ohrenhoch archive space.
Neo Hülcker
Neo Hülcker is a composer performer whose work focuses on music as anthropological research in everyday life environments. Their compositions evolve as situations, performance-installations, actions and interventions, and deal with digital subculture (like ASMR), childhood, human-animal-relations, queer practice and cultural hacking.
Hülcker studied composition with Dieter Mack and Harald Muenz at Musikhochschule Lübeck and with Manos Tsangaris and Franz Martin Olbrisch at Hochschule für Musik Carl Maria von Weber Dresden.
They founded the youtube channel feminist ASMR (in collaboration with Stellan Veloce and Katie Lee Dunbar), as well as the channel ASMR studio berlin (in collaboration with mam.manufaktur für aktuelle Musik).
Hülcker performs as the ASMR artist Thousand Tingles and is a part of the agency ASMR yourself with whom they performed at HAU Berlin, PACT Zollverein, Akademie der Künste Berlin and Münchner Kammerspiele.
Neo Hülcker is a part of the Y-E-S collective, who publishes music dealing with performativity, temporality, sound as physical experience and the cultural frames of concerts (y-e-s.org).
They created compositions and installations such as „ear action“ (2016) with Stellan Veloce, „crackles“ (2016) and „good dog“ (2017) for MOCREP, „gib Pfötchen“ (2017) for Maulwerker and „Da war ich noch nie in meinem ganzen Leben“ (2017), „Musik für tote Tiere“ (since 2017) and „tentaculus ohri“ (2018) with Antonia Baehr.
Hülckers work has been performed by ensembles such as Ensemble ascolta, Ensemble Radar, mam. Manufaktur für aktuelle Musik, Ensemble Garage, Maulwerker and decoder ensemble, MOCREP among others. They have collaborated with Antonia Baehr, Henry Wilde, Mario de Vega, Tomomi Adachi, The Agency, Stellan Veloce, Lucie Vitkova, Johnny Chang, Andy Ingamells, Elisabeth R. Hager, Matthias Kaul, Eva Zöllner, Bill Dietz and Jennifer Torrence. Hülcker`s compositions have been performed at Wittener Tage für neue Kammermusik (DE), Wien Modern (A), Warschauer Herbst (PL), London Contemporary Music Festival (GB), Münchener Biennale (DE), Blurred Edges (Hamburg, DE), Frontiers Festival (Birmingham, GB), Sound Acts (Athen, GR), Internationale Ferienkurse für Neue Musik Darmstadt (DE), Klangwerkstatt (Berlin, DE), Dark Music Days (Reykjavik, IS), Moving Music Festival (DE), SSSS! (Chicago) and elswhere.
Elisabeth R. Hager,
*1981 in Austria, is a writer, sound & radio artist, living in Berlin, New Zealand & Tirol.
She studied Comparative Literature, German, Christian Philosophy & Applied Literature in Innsbruck, Marseille & Berlin. After multiple journeys into other creative fields, since 2009 she is mainly focusses on writing. 2012 her first novel „Kometen“ was published by Milena Verlag Vienna. 2014 the radio drama „Der Knochen“ followed, that premiered on Dlf Kultur. 2017 she started directing short films for the radio station of DLF Kultur. 2018 she finished her second Novel „5 Tage im Mai“, who won her the Innsbruck prize for literature in 2018. The novel „5 Tage im Mai“ will be published in February 2019 by Klett-Cotta Publishing House.
She has received various scholarships & prices for her work, most recent are the Projektstipendium 2017/2018 from the Austrian ministry of culture & the Hilde-Zach- Literature Stipendium of the City of Innsbruck in 2018.
To hear on Sunday 11, 18, 25 November and 2 December 2018, 2pm - 9pm:
(2018, Premiere)
by Knut Remond
The piece will change over the four Sundays.
Knut Remond on 'the black kite', november 2018:
i wastefully use the resources that destroy the lives of animals and plants. life is diversity. a balanced and functional environment is based on the diversity of ecosystems, genetic diversity and abundance of species in animals, plants, fungi and microorganisms.
if we want to prevent the collapse of human civilization, we need nothing less than a radical break in prevailing cultural patterns!
what our ears hear is only a fraction of the sound world that surrounds us in reality. many animals, on the other hand, can perceive and produce far more sounds. you do not see them, but fish have ears: impinging sound waves cause tiny lime stones to vibrate in the ear liquid.
elephants produce such deep sounds that they begin to vibrate. these vibrations are transmitted to the earth and are transformed into ground waves and can still be perceived by other species over ten kilometers away thanks to their particularly sensitive soles.
global warming is rising. the species stocks in the tropics have shrunk by 60 percent since 1970, and 70 percent of all fish stocks are threatened with overfishing. the ecological footprint is 1.5 times as large as it would be for natural consumption. the insecticide carbofuran is blamed for the deaths of 17 to 91 million birds each year in the US alone.
i am comfortable and use the airplane as well. flying pollutes the environment particularly heavily with pollutants and noise. flying is the most energy intensive way to travel. I am wasteful and participate in the throwaway society. i am a part of the energy consumption and the ongoing environmental destruction.
i continue to do so, i will consume two planets annually in 2030. the machinery of devouring capitalism eats away all that is alive.
that our earth, despite our lifestyles, has not completely collapsed yet, because i live at the expense of others and take away the habitat of the "black kite" (black milan) and produce noise and steal its food!
"get off the horse when you realize it is dying below you."
lakota
Knut Remond
Sound activist, composer, performer. Mixed media, hardcore, imagineering portable set, human science sound. Founder, artistic director and curator of the Soundgallery 'ohrenhoch, der Geräuschladen' in Berlin-Neukölln. Founder, director and mentor of the 'ohrenhoch_Rumori-Kids' – school or research center for electroacoustic music and sound installation for children from 5 to 14 years.
www.ohrenhoch.org
www.ohrenhoch.berlin
To hear on Sunday 14, 21, 28 October and 4 November 2018, 2pm - 9pm:
(2018, Premiere)
by Hans Kämmerer (sound art) und Charis Nass (text and voice)
Curator, loudspeaker installation: Knut Remond
Hans Kämmerer on 'May you find':
For every work in the field of sound art I refer and connect to the space in which it takes place. As part of soundactvism 018 I use field recordings, which I recorded in Berlin Neukölln. The heavily processed sounds are modefied in their frequencies to the special speakers of the ohrenhoch gallery and form the bottom and frame for the text and voice of Charis Nass.
Charis Nass on 'May you find':
In my work I try to make the invisible inner world visible by approaching it with words that come to me intuitively. Inside us there is a sacred space where we are so pure and vulnerable. Entering can be scary as hell, but also liberating and joyful. So with my words, my I touch your heart for good. May you find lost crowns on your way and surrender to simply being you.
Hans Kämmerer is a Berlin based author and musician. He writes novels and has played in several bands as an bassist. Nowadays he is producing sound art with field recordings for theatre, galleries and art exhibitions.
Charis Nass graduated drama school at Folkwang University Essen in 2003. After engagements at the Theatre Essen and Schauspielhaus Düsseldorf she is working as a freelancing actress and performer since 2008. She works as a guest at city theatres and in the free scene and collected through her artistic career so far experiences in different contexts.
To hear on Sunday 16, 23, 30 September and 7 October 2018, 2pm - 9pm:
(Duration: 23:46 min, 2018, Premiere)
Kornelia Bruggmann, Voice
Knut Remond, Composition
Text from 'ERNST MACHT ERNST', Episode 80, by Balthasar Kübler
Curator, loudspeaker installation: Knut Remond
Kornelia Bruggmann on '2kampf':
erinnernde gedanken zum “zweikampf” von kornelia bruggmann mit balthasar kübler
introduktsi on erinnerzie free:
bk: entweder ich erkläre lang & bright, weshalb ich so still war oder ich komme gleich zur sache: hättest du lust in einem studio deiner wahl den «Zweikmapf» solo im sprechxang aufzunehmen?
kb:jawoll !
bk:O! k hanns kaom glaoben. wann? when? quando? so ohngefähr? jeschneller destobesser.
kb: würde also nexte woche zb nach berlin mit knut remond in seinem OHRENHOCH - geräuschladen werkeln nach lust und laune und bestem gewissen deine episode 80 aufnehmen und dir schicken ?!
bk: ich weiss, das wird nicht billig, aber letzthin beim zahnarzt, da sagte ich zu mir (mich wie immer höflich siezend): «warum geben sie das nicht auch einmal für ein privates vergnügen aus?» und ernst nickte und rief [con brio]: «ja! genau!» und dann [impatiently, alla zingarese]: «wann geht’s los?»
kb: der knüttler&ko senden allso hinundher ihr gearbeit und so wäxt die chose bis sie in ch am 8.sepphänder 2018 haupt pröblich gesendet wurd in där schüüür zu sibilinga und nun parat ist im ohrenhoch premiüre zu feiern - toitoitoi ! das war eine schöne arbeit mit dir knut. das war eine sehr schmerzliche erfahrung mit dir ball the zart. kunst kommt von künden, sonst hiesse es wunst. drum bin ike sängerin und sings in die welt :
para grapf 1
ODE AN BALTHAZAR
fon korn ella liab rook a wo man
al sso wurz dem ernzt ssugrin
a bär ist mir voll es wert.
wehrt er mich wider findn ?!
wollener er immer noch?
ike ver trüwe ins life-liche un
mit würz ssax ich in den ät heer:
ICH LIEBE DIESE AAREBEIT AUS BÄRN
wie ess zu hörrspiel „2kmapf“ cham:
kornelia frau-brugg-mann, stimme
knut remond, komposition
text aus „ernst macht ernst“ episode 80, balthasar kübler vu bärn.ch
——————————————————————————————-
für de aare brihgt in berlün korn eh liab schreibt dem zarewitsch ba'al:
ich stelle mir vor, eine art rhythmischer textcollage, schichten, dehnen, stückeln, straucheln, strudeln…
auf meine vorschläge antwortet balthasar ohrenhoch.
es ist also losgegangen nach dem telefonischen ok des meister b aus bärn, der nach abschluss der von knüttel & ko hinundher gesendeten teilaufnahmen überraschend das ko gesprochen hat. ernst macht also nicht ganz ernst. ich sax leise mit vorhersicht, aber es war zoo und nicht anders.
wir, knut & ko, haben aber die äusserst grosszügig verdankenswerte zärliche erlaubnis - da alles schon gefixed ist - den doppelten kampf aarebright im ohrenhoch - geräuscheladen im sept hmbär und okto b'herr 2018 stattfinden zu lassen! DANKSEIDIROHÄRR.
was war denn so vernichtend ??? ein missverständnis von kunzt und nicht studi ohh fabbricca lavoro.1 frauensingstimme, wie gewüntscht, elektronisch im studio verwertwurstet und kunstvoll den rhythmus der sängerinnerlichen sprache und ihrem lobsingschönend aufgefangnen takt schlagwerkartig aufzunehmen…. erka nit... erst ahn, aaaach, wie hat mir diese geschichte wehe gethan.
warumwarumwarumnur? hab geweinet die gantzen nächt. die aaare breit. warrumnuristsso gecko man? ichweissesnichtichweissesimmernochnicht. vielleichtweissicheseinestax. aaaaaber da die aaaaaarebeid, meinersiz gethan, und knuttersiz grad ebenso und die daten für vernis' sage und 3folgesonnen tage gmacht, bechloss ko troz ko und doch dank b: jez machzi di aare bright and shiny allainy über lang oder schnurz z end.
sie macht ernst. wi sparn also daten und torten und spuelen mit worten tönen und klingen mit freude zu ende zu bringen, was eir begonnen mit wonnen.
DE AARE BRIGHT’S GETHAN IM GROSSZUG’GEN SEEGNN Z ZARN. NOCH M'ALL THA’ANK!
di ku rannte bis si vil, si vil auf irr ohr um.
amen
a man - a word ?
a woman - a work !
kor eh liab rook who man
Kornelia Bruggmann,
the singer who sings all from opera to recital of songs to jazzjamsessionrockcoverimpromusictheatreelectroacousticvocalexperimentalsacral. Sounds out the voice to the limits. Studied with Kathrin Graf and Jane Mengedoht in Zürich; with Floreana Cavalli in Milan; extended training with Roy Hart Theater and with Edward Edgerten, voice acrobat America. Freelance. Has been teaching for 20 years at Zürcher Hochschule der Künste and at Musikschule Schaffhausen. Married, five children, 2 foster children, 7 grandchildren. Kornelia Bruggmann has been a guest of Ensemble für Neue Musik Zürich for several times, world premieres/research with the Internationales Studio für Elektroakustische Musik Zürich (ICST) and electronic Studio AMEG Geneva. KB is the singer of the Swiss Sound Painting Ensemble and sings recitals with the pianist Werner Bärtschi.
Knut Remond
Sound activist, composer, performer. Mixed media, hardcore, imagineering portable set, human science sound. Founder, artistic director and curator of the Soundgallery 'ohrenhoch, der Geräuschladen' in Berlin-Neukölln. Founder, director and mentor of the 'ohrenhoch_Rumori-Kids' – school or research center for electroacoustic music and sound installation for children from 5 to 14 years.
Website Knut Remond 'ohrenhoch, der Geräuschladen'
CD 'deep structure'
In 2001 Kornelia Bruggmann (voice) and Knut Remond (composition) presented "deep structure" (live electronics) with texts by Jenny Holzer and Bernadette Lerjen-Sarbach. The piece was premiered in the shut down pedestrian subway at Escher-Wyss-Platz in Zürich. "deep structure" is available on CD at ohrenhoch.
Zu hören am Sonntag 19. und 26. August, 2. und 9. September 2018, 14 - 21 Uhr:
(2018, Erstaufführung)
von Cecilia Castro (Argentinien)
Kurator, Lautsprecherinstallation: Knut Remond
Cecilia Castro über 'ROMA':
... Now that we live in an electric environment of information coded not just in visual but in other sensory modes, it's natural that we now have new perceptions that destroy the monopoly and priority of visual space, making this older space look as bizarre as a medieval coat of arms over the door of a chemistry lab.
(War and Peace in the Global Village, Marshall McLuhan)
ROMA proposes a timeless space. A future built on ruins of an aural past where all its sound elements are reused and arranged in a new scene that questions our perception of time, space and everything that human pretended to order in there. In this situation, the sampler and the sound banks are like a great archive of sonic information where we do archeology of consumption, production and attention.
Cecilia Castro
Born in Córdoba, Argentina in 1980. Composer and sound activist
She received her bachelor degree in electroacoustic media and composition from the National University of Quilmes. Some of her works have won awards from the National Art Fund, Telefónica Foundation and Modern Art Museum in Buenos Aires. She presented electronic pieces, works of mixed mediums and sound installation at important national and international galleries such as Diapason Gallery in New York and Reina Sofia Museum in Madrid.
She believes in the power of imagination to change the world.
Website Cecilia Castro
Zu hören am Sonntag 22. und 29. Juli, 5. und 12. August 2018, 14 - 21 Uhr:
(2012)
Text and composition by Hildegard Westerkamp
Narrators: Caleb and Caius Martin Ruebsaat
Girl’s Voice: Sonja Ruebsaat
Hildegard Westerkamp on 'Once Upon a Time...':
One day in the Fall of 2011 I wrote a fairy tale entitled “The Girl, the Witch, and the Magic Bird”. Ultimately it is about the power of the voice, the poisonous influence of the Muzak Corporation (among others) and the magic of listening and music making.
It seemed obvious that my two grandsons Caleb and Caius (10 and 7 at that time) should be the readers of this story. To my great delight they took up the challenge and surprised me with their hard work, endurance, and their lovely ways of speaking and reading. To read such a long story at their age and have it recorded by a very picky ‘Oma’ who wants to have every word and syllable annunciated as clearly as possible, is not an easy task. I was delighted by the creative energies that emerged in all of us during the process and the end result was a series of good recordings from which to choose for this piece.
The girl’s voice is that of my daughter, the boys’ mother, recorded when she was a little girl. Her voice is featured in an earlier piece of mine entitled Moments of Laughter (1988) and reappears here.
The recording of the loon was made by members of the World Soundscape Project at Simon Fraser University, Vancouver, Canada, in the early 1970s and is used here by permission.
Once Upon a Time was commissioned by the Western Front in Vancouver for a whole- night event in January 2012, entitled Circle of Sleep, the concept of which was conceived by music curator DB Boyko. On the night of the premiere event, the audience reclined comfortably on floor mats with blankets and pillows listening to this bedtime story, perhaps dozing off, relaxed and calmed by the end of it, ready to hear and dream of more sounds to come throughout the night.
Length: 24.39 minutes
Hildegard Westerkamp creates sonic journeys in her compositions that may not be dissimilar to daily life listening journeys—always on the edge between real and processed, real and imagined sounds. She has conducted soundwalks in many different places, creating contexts for participants to explore how ears and imagination process sonic experiences. She was active on the Board of the World Forum for Acoustic Ecology (WFAE) and co-editor of Soundscape—The Journal of Acoustic Ecology.
Her website offers detailed information about her various activities in the areas of soundscape composition, acoustic ecology and soundscape studies: hildegardwesterkamp.ca
'ohrenhoch, the Noise Shop' at the Art Festival 48 Stunden Neukölln
Friday 22 June, 7pm - 10pm
Saturday 23 June, 2pm - 10pm
Sunday 24 June, 2pm - 7pm
...and at the 'ohrenhoch Sundays'
Sunday 1, 8 and 15 July, 2pm - 9pm
The Doors of Perceptions
Listen: The ohrenhoch_Rumori-Kids and Knut Remond (Cosmè) present turbulent & lively changes of perspectives of place, space, time and the universe.
"If the doors of perception were cleansed
everything would appear to man as it is, infinite."
William Blake
The year 2018 is the ten-year jubilee of the ohrenhoch-Kids.
The ohrenhoch-Rumori_Kids
are a mixed group of children between 5 and 14 years dealing and experimenting with hearing, listening, and consequent phenomena.
In the weekly 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.
Knut Remond
Composer, performer, multimedia artist. Founder, artistic director and curator of the soundgallery 'ohrenhoch, der Geräuschladen' in Berlin-Neukölln. Founder, director and mentor of the 'ohrenhoch-Kids' – school or research center for electroacoustic music and sound installation for children from 5 to 14 years.
Sponsors and supporters:
Kulturnetzwerk Neukölln, Thomann Musikhaus, duophonic.
The 'ohrenhoch Sundays' initiative neue musik berlin e.V. and by Musikfonds e.V. mit Projektmitteln der Beauftragten der Bundesregierung für Kultur und Medien
Website ohrenhoch_Rumori-Kids
To hear on Sunday 3, 10 and 17 June 2018, 2pm - 9pm:
by Cathy Lane
Curator, loudspeaker installation: Knut Remond
Cathy Lane on 'Am I Here?':
We hear sound from all around us and are always at the centre of what we hear, however within field recording the dominant way of portraying that listening is as if the world is outside and separated from the field recordist. This arguably romantic hearing of the world separates out and ignores people, and in particular the recordist – as if they are not part of this sounding world that we hear and study through recording.
‘Am I Here?’ questions this absence and the nature of a recording and the various degrees of embodied or disembodied presence in a recorded artefact. It challenges the commonly held belief that field recordings are an ‘objective document’ and reasserts the inability of the recordist to escape their own physical and subjective presence as well as their effect on the world that they record.
Cathy Lane’s sound work ‘Am I Here?’ is a playful exploration of how the concept of ‘Be Here Now’ translates to recorded sound. The work takes the listener on a journey through time and space – from sounds of the stone carvers of Mamallapuram, the Bangalore laundry ghats and the temple of Madurai in South India through the glacial lagoons of Iceland to birdsong in a domestic garden in inner London stopping off in Chile, Italy, Norway and Scotland along the way. These field recordings have been made at different times over the last decade and often feature the composer’s voice commentating on what she can see or hear.
Thanks to Maya Lane, Chloé Locatelli and Salomé Voegelin for translating my words and lending their voices to mine.
Cathy Lane is a composer, sound artist and academic. Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective.
Cathy is Professor of Sound Arts at University of the Arts London and co-director of CRiSAP (Creative Research in Sound Arts Practice), University of the Arts London.
Audio Field Report no. 16 (August 2014): Interview with Cathy Lane by Knut Remond. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop'. All 'Audio Field Reports' can be heard on headphone in the ohrenhoch archive space.
Website Cathy Lane
To hear on Sunday 6, 13, 20, 27 May 2018, 2pm - 9pm:
(17:00, 2008)
by Gaël Segalen
Curator, loudspeaker installation: Knut Remond
Gaël Segalen on 'Nowhere Close':
Years after the end of the Croatian war of Independence (1991-1995), in Belgrade and in Vukovar (Croatia), which has become a martyr city, a symbol of resistance and coexistence, this piece was recorded along the Danube and in the cities with young Serbs. It's about post-war dialogue, exile of the young generation, memory, "dark tourism" or "memory tourism", associated to death, suffering, catastrophy and migrations …
but also reconciliation and crossed looks between two enemies populations living under the same roof.
How is the territory organised in this city, symbol of multiculturalism before the war? Is it still today precisely divided?
Recorded in 2008 before the official efforts of reconciliation, we were witnessing that “Vukovar is a spatially mixed but socially polarized environment. Croats and Serbs live nose to nose in the same apartments building, but in two different Vukovars. Here ethnicity is marked out and policed by the flying of flags, the holding of commemorations, the marking of ethno-nationalist expressions in the urban landscape (such as graffitis), and the presence of symbolic buildings” (Baillie B., 2011, Staking Claim : Monuments and the Making (and Breaking?) of a Border Matrix in Vukovar, Urban Conflict Conference. p. 90)
the boat goes up the river from Serbia to Croatia ...
... From Belgrade to Vukovar we listen to the history of identity fantasies of the inhabitants (all geographical concern of territorial belonging), crossed perceptions, alterity, while I refocus / recenter my serie of portraits on the problematics of the migratory movements : shall one stay / leave / come back / coexist.
It is also the unique recording of a young Serbian artist - resident on board - in the moment he discovers Vukovar for the first time.
A humanist awareness, an identification process, on a difficult page of history.
Delicate voice for floating words, stirred by the martial rhythm and tumultuous waters.
Produced as part of the European Sound Delta residency (July - September 2008), MU Collective and European Cultural program.
with the voices of:
Igor Stangliczky, Vladimir Radinović, Diane, "formerly" american, or Diana as her adoptive Serbian name,
Vukovar priest (recorded by Ludger Hennig), Serbo-Croatian singing group "Kudkrajina" from Belgrade,
Silvena Garelova in Ruse - Bulgaria for the "Luna" song
The boys from Vukovar diving into the Danube.
Sounds of the city of Belgrade (Serbia), NoviSad (Serbia), Vukovar (Croatia), Bratislava (Slovakia),
from diverse locations in Romania and Bulgaria,
and from the boat navigating on the Danube.
additional sound : Ian-John Hutchinson "Tokyo Revolver"
Gaël Segalen
Paris, France
From social sciences to radio, sound recording for the cinema, field recording, pedagogy, art / sound interaction as a free form of anthropology and geology, electronic composition,
for 20 years, Gaël Segalen focuses on the direct relationship to the people and the world through sound, and calls her project IhearU.
She runs workshops, composes for commissioned projects and visual works and publishes solo and duet albums (Erratum, Frm-at, Firecracker Recordings labels).
She is also co-founder of Polyphones, a french network dedicated to women in musical experimentation.
Website Gaël Segalen
To hear on Sunday 8, 15, 22, 29 April 2018, 2pm - 9pm:
Carried on Your Winds
Flowing on Your Tongues
Participatory audio-based installation *
(2016, European Premiere)
by Tina Pearson (Canada)
Curator, loudspeaker installation: Knut Remond
Tina Pearson on 'Absorb':
Absorb is an audio-based installation that attempts to reconcile an essence of human presence in the seemingly disconnected realms of technology and the biosphere. It is a response to the hard-to-grasp realities of rapid global wildlife and habitat loss that parallel a simultaneous explosion of human populations and especially their technologies, which seem, at first glance, to be propelling human being-ness further and further from communion with its evolutionary origins in water, bacteria, sponge, and fish, and toward something “unworldy” and cyborg-ian. Sometimes the simplest response is to step outside to listen, to breathe and to let loose a primal voiced echoe.
The scores of Absorb pose a set of instructions that assume and invite cellular and ancestral memory responses, or codes, from participants. Recognizing that all technologies are formed from earthly materials, the composition of Absorb asks how those coded responses might be seeded within, pollinate, or infect the networked and digital media that the composition carries into a venue.
What fragments of the blood, breath, waters and essences of those from which we came, can we perceive in the winds, waters, in rocks, earth and flora around us? What of these fragmented essences, are present in how our cells function, how we breathe, walk, move, speak and think? And what of these ancestral essences, these codes, do we project into, or can we detect in, our technologies?
The responses, extracted from their origins, fragmented, mixed and processed digitally, populate the installation space, juxtaposing the ancient organic realm of telepathy with the futuristic wired realm of telematics. Disconnected echoing digital seed-codes of listening, breathing, intending, voicing.
The audio of the first “parent” recordings of Carried on Your Winds and Flowing on Your Tongues was made from the sounds of artists from Canada, the United States and Europe, who were invited to respond to the scores remotely by digitally recording their breath and voice sounds, respectively. Their audio files, sent through the internet, were edited and processed into two long form sonic pieces. In each location where the project is installed, more contributions are gathered, rendered and mixed into the whole.
* For the installation at ohrenhoch, visitors are invited to consider their own realization of the scores. Those visiting April 8 and 15 have the option of individually recording their breath and voice with the help of ohrenhoch. Their recordings will be rendered by Tina Pearson and included in the final two installation dates April 22 and 29.
A quote related to Absorb and Soundactivism:
“I experience both enthralment and trepidation as a daily witness to the fundamental and continuos change in my physical being, my perceptions, and my understanding of reality as a direct result of my active and passive participation in digital and networked technologies. I’m a hybrid being. In my imagination, I recall the sensation of my bare toes grasping at the mossy root of a tall red cedar, releasing a rich dusky smell, while my fingers quickly type commands for a live online audiovisual telematic performance. My eyes peer through the filter of two glass prisms, each one precisely measured to enhance my vision, as I focus on the computer screen that shows the movements and texts of my oversees colleagues’ virtual avatars. My ears, swimming in the blur of our combined electronic sounds swirling through the electronic speakers on my bookshelf, perk up suddenly to focus far up outside my real life window toward the cacophony of the local murder of crows returning from the seashore to their night time roost inland. And now, my mind and eyes can be here, typing, while another aspect of my presence can be there, remembering. I, as an essence, can be present in multiple “theres” at once in time and space.”
—From Absorb, Tina Pearson, September 2016
Audio Field Report no. 34 / Sound activism 13: Interview with Tina M Pearson by Knut Remond. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop'
All 'Audio Field Reports' can be heard on headphone in the ohrenhoch archive space!
Tina Pearson is a composer, performer and facilitator in new music, sound art, and networked performance. Since 1979, Pearson has worked in projects that investigate notions of culture, perception, identity and place, and the relationships between creator, environment, performer and witness-participant. Her work often involves spectral-temporal forms and sonic mimicry, and usually incorporates biospheric themes and stretched modes of attention, sometimes in process oriented contexts with community participants. Since 2007, she has explored telematic performance in audio and 3-D networked platforms, and since 2014 she has engaged in an ongoing project called Biospheric Art Practice, which questions artistic contexts in relation to the non-human environment. As a performer (flute, voice, tuned glass, accordion, virtual instruments), Pearson’s sound worlds reveal shifting nuances of texture, dynamic and tuning.
Recent presentations include Root, Blood, Fractal, Breath commissioned by Contact Contemporary Music (Allan Gardens, Toronto, Canada, 2017); Weighting (works for dance and video commissioned by choreographer Lori Hamar, Victoria, Canada, 2017); Hunt (3) Chanterelles (Brown University, Providence, RI, 2017); Absorb (audio visual installation, commissioned by MediaNet, Victoria, Canada, 2016); Songs For Glass Island, with Camille Norment and Experimental Music Unit (Contemporary Art Gallery, Vancouver, 2016); PwRHm (w/helicopter) (networked media work, Firenze Media Arts Festival, Florence, Italy; 2016, Net New Music Festival Birmingham, UK, 2015; Experimental Media and Performance Centre, Troy, New York, 2014), Music For Natural History (performative installation, w/ Paul Walde, Royal BC Museum, Victoria, 2016), This Is For You (sound installation, ohrenhoch, Berlin, 2016 & 2015), among others.
Pearson was editor of the Canadian periodical Musicworks initiating its audio component in 1983. She designed and taught a sound studies course at OCAD University’s Experimental Department in Toronto for a number of years, and often presents workshops, guest lectures and talks on listening, biospheric art practice, telematic collaboration, and Deep Listening®. She was director of the Toronto New Music Co-operative (Toronto), is co-director of the new music organization LaSaM (Victoria, BC) and a member of the global networked collaboration Avatar Orchestra Metaverse.
Website Tina Pearson
To hear on Sunday 11, 18, 25 March and 1 April 2018, 2pm - 9pm:
(A production by Ö1 Kunstradio, 2017, German Premiere)
von Elisabeth Schimana
Curator, loudspeaker installation: Knut Remond
Elisabeth Schimana on 'Vast Territory, Episode 2 Forest Murmurs':
There is a certain memory of a busride in 2011 from Vilnius to Druskininkai and the experieced landscape – the vast territory.
In Episode 2 binaural recordings in the woods around Druskininkai are used – a journey with my artificial ears into the living silnece of the woods. These sounds ask for devotion, for the willingness to listen INTO and to enjoy this animate silence thereby.
Rare it has become to get to experience an acoustic landscape without aircraft noise at minute intervals. Rare it has become that people take their time to perceive small changes.
Do we need a hundred-year sleep so as to have time to listen into the depth? And to give this planet time to recover from us humans?
Audio Field Report no. 25 / Soundactivism 4 (March 2015): Interview with, or audio guide by Elisabeth Schimana. Idea: Knut Remond. Ltd Edition audio cassette, 8 copies numbered.
Elisabeth Schimana short biography
Since the 1980s the musician and composer Elisabeth Schimana has been active as one of the Austrian female pioneers of electronic music with projects marked by a radical approach and equally unconventional aesthetics.
After completing vocal training, she earned degrees in composition, computer music, musicology, and ethnology. She has worked intensively with the theremin in Moscow and with the Max Brand Synthesizer in Vienna. Not only has she created countless radio works in cooperation with ORF Kunstradio but numerous sound installations and interdisciplinary and performative projects as well. Her concepts for experimental set-ups fathom the social field and put to the test new ways of interacting musically on the Internet.
In her artistic work, Schimana examines questions of space, communication, or the body in its presence or absence, especially the imparting of compositional concepts (scores), which gives rise to completely new approaches that experimentally explore how we hear and demand a heightened musical presence on the part of the performer. Her probing approach also led her to found the
IMA Institute of Media Archeology, which has dedicated itself to acoustic media at the analogue/digital interface and to the subject of women, art, and technology since 2005.
Schimana's award-winning and internationally performed work spans the gamut of composition and free playing, is inextricably bound to her as a live performer, makes reference to historical positions, but resists all attempts at categorization, and stands out, strikingly and reduced, with tremendous intensity.
Milena Meller
Website Elisabeth Schimana
To hear on Sunday 11, 18, 25 February and 4 March 2018, 2pm - 9pm:
(2018, Premiere)
by Annabel Frearson
Annabel Frearson reads Sic, a paragrammic rewriting of Mein Kampf by global micro workers, as a critique of contemporary fascism. A paragram is a verbal play that reorders the letters of existing words and phrases. Thus, Sic intends to undermine Hitler’s text by rendering it deviant and to liberate the language contained therein by quite literally rewriting history. Sic enacts a material textual violence through an absolute dissolution of the original narrative and regurgitation as heterological mass comprising anagrams, disjunctive sounds and unspeakable interminglings of lettristic parts, rendering the antisemitic as antisemantic. The readings are recorded in a variety of contexts so as to re-entangle the liberated language with the material world.
Audio Field Report no. 11 (June 2014):
Interview with Annabel Frearson by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and to hear on headphone in the ohrenhoch archive).
Annabel Frearson
My artistic practice is interdisciplinary, with a focus on expanded, conceptual art writing. I work with historically significant cultural objects, such as texts and films, through which I explore contemporary theoretical and socio-political concerns.
Recent publications include:
• Sic: commissioned by the International Literature Showcase (ILS), co-funded by British Council, Writers Centre Norwich and Arts Council England, comprising a paragrammic rewriting of Mein Kampf (Hitler 1925) by global micro-workers through online gig-economy platforms, as an exploration of contemporary fascism.
• Affectation Correspondence, Tombstone Press, 2017: A work of science fiction written using only words from Frankenstein (Shelley, 1831).
Exhibitions and projects have featured at: Camden Arts Centre, LUX/ICA Biennial of Moving Images, V&A Museum, Whitechapel Gallery, IMT Gallery, xero, kline & coma, London; Arnolfini, Bristol; Ikon Gallery, Birmingham; Haifa Museum of Art, Israel; ohrenhoch, Berlin; Shiraz Artist House, Iran; Golden Thread, Belfast; and Sheppard Fine Arts Gallery, Reno, USA.
I studied modern languages at Bristol University and fine art at Central St Martin's (UAL) and the Slade School, UCL. In 2014, I completed a PhD in art practice at Goldsmiths, University of London.
I teach art and critical studies at: Imperial College London; Goldsmiths College; Kingston University; Sotheby’s Institute of Art.
Website Annabel Frearson
To hear on Sunday 14, 21, 28* January and 4 February 2018, 2pm - 9pm:
a Cymatic Environment
(2017-2018, Premiere)
von Anna Stereopoulou
* On January 28th, 7:00 pm, Anna Stereopoulou will be present at 'ohrenhoch, der Geräuschladen' and will offer a live]SYN[thesis of the work – a combination of elements of Live Concert /Live Synthesis – Sound Installation – Lecture. Duration: 55'. The live act concept of ohrenhoch is named 'Handbag Electronics': the equipment must fit into a handbag size 30 x 30 x 10 cm.
«Sound is Ariadne's helping thread;
it is the map of (Mother) Nature, revealing the structure and function of our society.»
«SYN» by Athens-based composer Anna Stereopoulou is described by the artist as a Cymatic Environment©. It is based on the Unity of Different genres, presentation forms and Art-and-Science subjects, and forms a wider and more universal 'soma' of the Whole.
The recent invitation of its presentation at the 'ohrenhoch, der Geräuschladen' Sound Gallery (Berlin Premiere, January-February 2018) gives the sparkle to create a special and new version of its concept; the understanding of our Society, through History and through (Human) Nature & Body.
More specifically, the work functions as a 'poetic' simulation of two themes presented in parallel;
a. the structure and function of the Human Ear & the Balance of Body
(composer's theme-based project / album, titled «electron») | Anatomy, Psychology, Philosophy
-and-
b. the structure of the Minoan Palace and Culture (Crete, Greece) | History, Architecture, Society
In other words, an acousmatic walk into a continuous Labyrinth, consisting of multiple layers and elements, as reflected in a repetitive and moving Core, which is finally met and reformed by its carrier; spectator oneself. «A mind game that aims to reach the moment you discover the key within your own hand..!»
«Be clever, Ariadne!...
You have little ears; you have my ears:
Put a clever word in them! —
Must one not first hate oneself, in order to love oneself?...
I am your labyrinth...» – Friedrich Nietzsche
from Ariadne's Lament ('Dionysus to Ariadne' excerpt),
«Dionysus-Dithyrambs», 1888
SYN: https://annastereoscopic.wordpress.com/2017/06/09/syn-premiere-30-05-2017-av-memo/
©Copyright, Anna Stereopoulou, 2017-2018
A STEREOSCOPIC perspective of Music & Art©
Audio Field Report no. 47 / Sound activism 26 (May 2016):
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
Greek composer and pianist Anna Stereopoulou specialises in the field of Music Composition for Film & TV, also inspired by her on-going research on the Human Brain. She has presented her art in various cultural centres worldwide, notably at Megaron Athens Concert Hall, Royal Marines Orchestra (UK), «ohrenhoch, der Geräuschladen» Sound Gallery (2016, Berlin), Università degli Studi dell'Insubria (Astrophysics Conference, Italy), Synch Festival (Greece), Piano City Milano (2013 & 2014, Italy), Off_Herzios Festival 2014 (Spain), and Portello River Festival & River Film Festival (Padova, Italy), at which she had also been working as Music Consultant / Programming. She has composed the score for various theatrical, dance and film productions, including «A Place Called Home» (dir. Maria Douza, 2014), for which she won the Best Original Score award at the 9th Cyprus International Film Festival.
«electron» [ἤλεκτρον – ḗlektron] by Anna Stereopoulou is her 5th solo album and the 2nd work of her concept-project trilogy ["…oneirograph…v.5.spindle" (2009-2010) - "electron" (2011) - "c i r c e :the black cut:" (2014-2016)], giving life to her latest project, titled SYN, as premiered at the "Teaching Hall of the Music Library" at Megaron – The Athens Concert Hall (May 30th, 2017 / Greece), and since then, developing in a «live_SYN_thesis» concept. Her solo records are available to listen and study at the Music Library of Greece «Lilian Voudouri».
To hear on Sunday 17, 24, 31 December 2017 and 7 January 2018, 2pm - 9pm:
(2017, premiere)
joint composition
by Kornelia Bruggmann and Knut Remond
Kornelia Bruggmann singt und reflektiert mit Klavier die fragenden Aufrufe von soundactivism 017.
Mit dem Smartphone als Audiorecorder hat Kornelia Bruggmann ihre Befehle bzw. Statements aufgenommen.
Knut Remond hat die Aufnahme bearbeitet bzw. weiter gespielt. Es ist eine Gemeinschaftskomposition.
„uma’s position 2017“ ist sozusagen der Abschluss 2017 und der Beginn auf das kommende Jahr 2018.
Kornelia Bruggmann, die Sängerin, die alles singt von der Oper zum Liederabend über jazzjamsessionrockcoverimpromusiktheaterelektroakustischvokalexperimentalsakral. Lotet die Stimme bis an ihre Grenzen aus. Studierte bei Kathrin Graf und Jane Mengedoht in Zürich; in Mailand bei Floreana Cavalli; Weiterbildung im Roy Hart Theater und bei Edward Edgerten, Stimmakrobat Amerika. Freischaffend. Unterrichtete 20 Jahre an der Zürcher Hochschule der Künste und an der Musikschule Schaffhausen. Verheiratet, fünf Kinder, 2 Pflegekinder, 7 Enkel. Kornelia Bruggamnn ist Gast im Ensemble für Neue Musik ZH, Uraufführungen/Forschung mit dem Internationalen Studio für Elektroakkustische Musik ZH (ICST und elektronisches Studio AMEG Genève.
Kornelia Bruggmann (Stimme) und Knut Remond (Komposition und DJay) präsentierten im Jahr 2001 „deep structure" (Live electronics) mit Texten von Jenny Holzer und Bernadette Lerjen-Saarbach. "deep structure" ist als CD im ohrenhoch erhältlich.
Knut Remond
Soundaktivist, Komponist, Performer. Mixed Media, hardcore, imagineering portable set, human science sound. Gründer, künstlerischer Leiter und Kurator der Hörgalerie 'ohrenhoch, der Geräuschladen' in Berlin-Neukölln. Gründer, Leiter und Mentor der 'ohrenhoch_Rumori-Kids' – Schule bzw. Forschungsstelle für elektroakustische Musik und Klanginstallation für Kinder von 5 bis 14 Jahren.
soundactivism 017
POSITIONIERUNG
Has rhetoric become compelling?
Democracy
Borders
Alternative
Opposition
Freedom
Totalitarian
Populism
Education
Political correctness
People
Art
Prosperity
Integration
Values
Refugee crisis
Post-Factual
Truth
How does the New Fascism sound?
Terms without substance (but with great resonance)
Resonances
Echo, reverberation
How can the experiment be handled in the so-called democracy?
Silence: Objection or resignation?
Laboratory of Hearing
Is art relegated to sacred architectures? Is it a withdrawal from, a dismissal of social and political upheaval?
What is the meaning of idealism for so-called other cultures
Hearing, the voice, the language, participation are central instruments for a so-called (socialist) democratic togetherness.
Rumori_Kids
Knowledge Language Exchange Art
Reciprocity / unsettlement / negotiation
Media competence (interviews and songs)
Do the voices or questions fade away unheard?
Can art produce knowledge?
What kind of knowledge?
Knowing versus implementing? Thinking versus acting?
Emotions?
Numbers’ sovereignty (cultural identities)
Are sound artists entangled in technology, too detached? Are they well-behaved recipients of structural ritualized sound ideologies or aesthetics, deaf to diversity?
Does the sound or do the delicate voices disappear?
Perseverance. Consequence
Do we have to destroy efficiency?
Accent(s)
Sound
Courage
Ecstasy
How do we want to live?
Fear of Missing Out (FoMO)
Do we need an absolute here and now?
Does the internet overcome space?
Full of contemporary
How do I define femininity?
Should aesthetic products be defined as/because female?
Does women's speech need to be arrogant?
Recognition versus an unstrategic game
Boredom
Spectacular
Accomplishment
Text: Isabella Zamboni + Knut Remond
"ohrenhoch, der Geräuschladen" Von Knut Remond und Katharina Moos
To hear on Sunday 19 and nd 26 November, 3 and 10 December 2017, 2pm - 9pm:
(2017, Premiere)
by Stefan Gec, Andrew Stones, Louise K Wilson
gecstoneswilson über 'State of Dread':
'State of Dread' is an audio work in two parts: an effect cycle and a spoken-word cycle.
The spoken-word cycle is edited from interviews carried out by all three artists with friends and acquaintances. In this part of the work, interview subjects are heard trying to describe a recurring and pervasive sensation that is sometimes associated with particular events in their lives, but which also arrives like an unwelcome familiar in the night, with no particular purpose, attached to no particular thought or idea.
These subjective struggles to come to terms with a collectively-acknowledged feeling are heard in the context of a continuous effect cycle. Here, from a constantly-murmuring undercurrent, a variety of audio events rise up and fall back, suggestive of barely-contained malignancy harboured within a constantly idling mechanism, such as a consciousness or an ecosystem.
Gec, Stones and Wilson are based in the UK, and have been working collaboratively since 2013. They each also have individual practices, together encompassing gallery and site-specific art, academic research, writing and music.
More information: www.gecstoneswilson.org
Andrew Stones was born in Sheffield, England. He has worked as an artist since 1984, exhibiting widely. His video, audio and mixed-media installations often explore the coexistence of artistic and scientific thinking, via the cultural manifestations of each broad field. His many awards and commissions include a NESTA Fellowship (2001-04) which enabled video shoots at major science establishments, including Arecibo Radio Observatory (Puerto Rico), and CERN (Switzerland/France). He holds a PhD (Slade School of Art/UCL 2011) and writes on subjects related to the core concerns of his work. His individual work is archived at www.andrewstones.com. His collaborative work with Frances Hegarty is at www.brighter.org/hegartystones.
Louise K. Wilson was born in Aldershot, England. She has worked as an artist since 1987. Her installations, live events, sound and video works often involve the participation of individuals from industry, museums, medicine and the scientific community. Recent exhibitions include ‘States of Mind: Tracing the edges of consciousness’ at the Wellcome Collection, London (2016), ‘Submerged: Silent Service’ (Ohrenoch, Berlin, 2015) and ‘Topophobia’ (Danielle Arnaud Gallery, London; Bluecoat Gallery, Liverpool and Spacex Gallery, Exeter, 2012). She is a lecturer (Art and Design) at the University of Leeds and holds a PhD from the University of Derby. Her individual work is archived at www.lkwilson.org.
Stefan Gec was born in Huddersfield in 1958, his practice utilises carefully sourced materials from specific times and places, often referencing technologies both past and present to investigate ideas of transformation through re-positioning and context. Gec completed his post-graduate studies at the Slade School of Art, UCL, 1991-93 and was a recipient of the Hamlyn Award for visual arts in 1995. In 2003 he was shortlisted for the Fourth Plinth in Trafalgar Square, London. His work is in numerous collections both nationally and internationally. He is represented by Annely Juda Fine Art, London and exhibits widely both nationally and internationally. His individual work is archived at www.stefangec.com.
Audio Field Reports nos. 1-60 / Soundaktivismus 1-39: ohrenhoch Interviews seit Januar 2014 mit den einzelnen KünstlerInnen, Konzept und Design von Knut Remond. Limitierte Auflagen Audio-Kassette, je 8 Stück nummeriert. Erhältlich bei 'ohrenhoch, der Geräuschladen' (und zu hören auf Kopfhörer im ohrenhoch-Archiv).
To hear on Sunday 22 and 29 October, 5 and 12 November 2017, 2pm - 9pm:
(2017, Premiere)
by Ben Glas
Ben Glas über 'A Social Harmony':
"To: Ohrenhoch Gallery, Neukoeln, Berlin.
On Soundactivism17
“A Social Harmony” is a noise composition that consists of 15 various responses to a very general survey. The general survey obtusely acts as a prompt for each participant, who have sonically recorded their responses and given me their explicit approval to present their opinions here at Ohrenhoch SoundGallery, under the Soundactivism17 installment.
Each participant tells a distinct story, a unique narrative. The general questions within the survey pertain to political themes; social discourse on inequality, racial and gender tensions that globally inherent. The act of playing all recorded tracks together is an attempt to mimic the sometimes hard to navigate liminal space of information, opinion and personally biased story.
Here is the double edged sword, the friction upon which this piece rests and builds; listeners are presented with a wall or mass of noise. As each listener makes an agency-based choice in their own physical movements, specific tracks begin to become more apparent, creating a sonic bias for the individual listener. This is no mere model of the messiness of contemporary political discourse, but rather a macrocosm thereof.
In an act of activism, I have compiled these tracks as a formal composition to denote the importance of perspectives and the multiplex of various opinions and assumptions we sift through daily. Each individual voice, viewpoint and perspective heard here is inherently an act of defiance to a potentially corrupt system; one that both cultivates and thrives upon a constructed delusional hierarchy. The act of speaking up and out is a daily defiant stance many of these participants take in their alltag. An extension of this activism is to be activated and negotiated by each individual listener in this space; the individual has the agency to navigate subjectively positive and negate potentially negative viewpoints. All of this is activism.
And the fact that you are taking the time to read and consider this writing; this too is an act of activism.
Thank You For Your Understanding,
Ben Glas
"The participants of this project include
"Denny"
Alan Page-Duffy
Anonymous (3)
Cassandra Lankford
Cheyenne Preys
Christine Tannenvald
Ellena Rosenthal
Israel David
Jerry Schlesser
Katie Piatt
Laura Medina
Nadia Preys
Nick Bukea
"
Ben Glas is an interdisciplinary artist and composer based in Portland, OR. With a keen focus on sonic phenomena and vibration, his work engages concepts of relativity, human perception, spacetime and egalitarian modes of experiencing sound.
Glas is a prolific composer with debuts and performances at PICA's TBA Festival, Open Signal's Unity Gain and is an active member of the Pacific Northwest Art community. Through work released on the labels Blankstairs (NY/PDX), Deep White Sound (PDX) and Sounds Et Al (PDX) Glas explores alternative inquiries into hearing, listening and experiencing. Glas is an active member of the International artist collective In Naam Der Kunst (I.N.K).
His work contemporary work can be found at thankyouforyourunderstanding.com
Audio Field Reports nos. 1-60 / Soundaktivismus 1-39: ohrenhoch Interviews seit Januar 2014 mit den einzelnen KünstlerInnen, Konzept und Design von Knut Remond. Limitierte Auflagen Audio-Kassette, je 8 Stück nummeriert. Erhältlich bei 'ohrenhoch, der Geräuschladen' (und zu hören auf Kopfhörer im ohrenhoch-Archiv).
ohrenhoch presents on Sunday 15 October 2017, 2pm - 9pm:
The ohrenhoch Archive invites you to:
- Interviews 'Audio Field Report' nos. 1-60, since 2014 (see below)
- Interview Booklets 2012 - 2013
- Sound Objects
- CDs + Audio Stories by the ohrenhoch-Kids
- Texts to SOUNDACTIVISM
- 'SOUNDACTIVISM 017 Positioning
Audio Field Reports nos. 1-60 / soundactivism 1-39: 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).
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Sound activism017
To hear on Sunday 17 and 24 September 2017, continuous play from 2pm until 9pm:
(Audio 11:14, 2015-2017)
To hear on Sunday 1 and 8 October 2017, continuous play from 2pm until 9pm:
( Audio 11:14, 2017)
by Gisela Frick - Hassenberg (Chile)
Curator, loudspeaker installation: Knut Remond
To Heal a Broken Heart
To Heal a Broken Heart is an ambient composition based on a seed of a synthesizer improvisation originally entitled ‘Some Joke’, recorded in London, August 2015. The transmutation from this raw, cynical improvisation, to a few minutes seed later processed to its final result was a meaning bearing process, a search for spiritual knowledge through art. It is a part of a personal journey as a sound artist and composer to learn from the path of harmony in the craft of sound: pursuing deeper, slower experiences, accepting frailty as a basis to all expression and communication between the composer and the listener. Consequently, and in order to address the Ohrenhoch space as a new media for the composition, To Heal A Broken Heart is re-versioned in 2017 as a complete aural experience. It is now reinterpreted as two superimposed tracks: the original 2015 track, filled with harmonics and extended, stretched notes from analogue sources and filters, and an extra track to be played simultaneously in the basement of the gallery. The basement track is the hidden basis of the composition: as its seed constructs a surrounding illusion of sound penetrating nostrils from the left to the right ear, it creates a cycle of 12x1’ seeds linked and faded in and out through the 11’14” of the total composition.
The Greatest Thing You’ll Ever Learn
The Greatest Thing You’ll Ever Learn is a spatialized sound collage, designed to be heard alternately in both the Ohrenhoch street level space and its basement. It mirrors Sound Activism 2017 concepts: Can art produce knowledge? Spiritual Knowledge / How do we want to live? Soulful presence / Perseverance: As in the zen way. The composition name and seed concept/question is taken from the famous song ‘Nature Boy’ by Eden Ahbez (1948): its tacit answer to the title “is just to love and be loved in return”. The composition is the result of two linked spaces / tracks: a) The ‘living’/learning space: with recordings of piano rehearsals of Nature Boy played by Frick documenting her learning process. These may be raw or tweaked, superimposed or solo, fragments accepting ‘mis’takes and searching for a ‘personal’ version. A testimony of the process of learning and accepting imperfection. b) The ‘ghost’ room/basement: a sound collage –processed and raw- of different historical versions and fragments of Nature Boy by Eden Ahbez, John Coltrane, Nat King Cole among others who have passed away. An ode to the artists who in their continuous learning process gave a different interpretation of a ‘canonical’ song. Both tracks are intertwined together in sound and composition of their harmonic parts, interlacing the ‘living learning’ and the ‘canonic lessons’ from those who lived, learned and loved music as an open journey as well.
Gisela Frick - Hassenberg
Born 1981, Santiago, Chile.
Gisela Frick – Hassenberg is a sound artist and experimental composer. A few of her solo works are Réquiem para el Camarada Pablo Neruda (2012), Cárcel V'al Paraíso (2013), Slow Motion Graphics (RRS Radio Museo Reina Sofía, 2014), Mirror Forest (Resonancias RTVE / 2016), Raindrop Lullaby (Music Hackspace / Apiary Studios, 2016) and Kindernacht (Ohrenhoch Gallery, 2016) with past collaborations in Tegualda Records (Tegualda Vol III 2012), Ciclo Sonoridades Disociadas, Valparaíso (2014, 2015), Esto lo Puede Hacer Cualquiera (GFR Broadcasting System, 2014-2015), Disquiet Junto Projects (2016, 2017) among others. She is engaged in continuous development and research in sound collage, graphic composition and improvisation. Her focus lies on the paradoxes and harmonies between the abstract and the narrative in sound through processed and raw sources, combining timbres and timing through MIDI and/or analogue. She lives and works in Santiago, Chile.
Zu hören am Sonntag 20. und 27. August und 3. und 10. September 2017, 14:00 - 21:00 Uhr
by Liam Slevin (IRL)
Sound Activism2017
Temporal Feed ( Audio 20:48, 2017)
Gitmo List ( Audio 5:40, 2017)
Temporal Feed
Temporal Feed is the sonic documentation of a collection of light/sound installations and prefabricated feedback systems reacting with a highly reverberative architectural space. Recorded live at The Auxiliary Project Space August 2017.
Evoking distant landscapes, Temporal Feed sees a various collection of consumer electronics become tools of sonic expression, as Slevin’s walls of feedback meet with physical space. He delves into the potentiality of each system teasing out new possibilities and examining the impact constructed spaces have on our auditory ecology.
Working with the resonance frequencies of the space, he explores ideas of systematic control and power relations through the manipulation of these sonic structures. By inputting a physical performative element or manipulation these sonic structures, Slevin poses as an antithesis of balance and harmony in an environment on the edge of discord.
Gitmo List
Gitmo List is a composition of 14 pop songs played simultaneously and processed through a feedback matrix. The songs selected form part of what is known as the Gitmo list, a collection of songs used by the American Army as methods of sound torture in previous conflicts.
Gitmo List forms part of a larger body of work Slevin has been researching with regards to the physicality of sound in relation to the history of politicised sound. Formed largely from his research into the case of Ireland Vs England 1978 that was brought before the European Court of Human Rights.The case was won by England and resulted in the act of exposing others to sound against their will, not being classified as a method of torture. But rather as inhumane, and this case is now often used to justify the use of sound as a tool for torture.
With each track played simultaneously through the feedback matrix, it is in fact acting as an echo chamber. The information is immediately distorted and all traits of western pop culture become dissolved in a wall of feedback, exposing the listener to a displaced sonic experience.
Liam Slevin
B 1984, Cork, Ireland
Slevin is an artist and cultural producer from Cork, Ireland. He is the creative director of The Auxiliary Project Space is a co-founder and director of the Middlesbrough Art Weekender. As a multi-disciplinary artist working predominately in sound, his works can be experienced as architectural interventions, sound sculpture, audiovisual installations, performances and recorded sound-works.
Over the last 10 years Slevin has founded and directed a number of artist-led initiative in Ireland, Germany and England. In 2008 he co-founded the artist collective Cork Contemporary Projects. C.C.P. theSPACE, a one year artist led project space hosting exhibitions, talks, workshops, screenings and performative events. In 2011 Slevin set up TACTIC, a new gallery and project space in Cork city. TACTIC was formed to address the lack of cultural space available for curators to develop and maintain a working practice in Cork. 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 working with Salon Bruit, Urban Arts Berlin, The Suicide Pizza Club, PussyKrew among others.
In 2015 he was studio resident at NK Projects, Berlin's leading performance studio space for experimental music and noise. During this time there he programmed a series of experimental music events at Lauschangriff, Normal Bar and Urban Spree under the monikers of Pure, Bualadh and B.T.D.K.Y.D
In 2016 he moved to Stockton-on-Tees where he established The Auxiliary - a new project space that focuses on sound art as well as hosting an international A.i.R. program. In 2017 he also established and directed the Middlesbrough Art Weekender - a three day international arts festival.
Upcoming projects include Creative Arc - Middlesbrough, Detroit, an Arts Council of England funded project looking at creating creative links between Middlesbrough and Detroit.
He lives and works Stockton-on-Tees, England.
Website Liam Slevin
To hear on Sunday 30 July and 6 August 2017, 2pm - 9pm
Prolongation: Sunday 13 August !!!
I - RITUAL AFTER ANTIGONE
For six voices and electronics. Stereo sound installation. Duration: 04’ 15
II - AFTER ANTIGONE’S DEATH
For concrete and electronics sounds. Stereo sound installation. Duration: 13’00
by Gio Janiashvili (*1989, Tbilisi, Georgia). A resident of the USA (New York City).
Composer and artist.
Loudspeaker installation 'BassBox': Knut Remond
Gio Janiashvili on 'The Antigone Project: After Sophocles':
The sound installation is a pictorial landscape, which takes the listener on a journey into a ritualistic surreal world, where the audience has a space for contemplation upon the tragic theme of Antigone. Antigone is a Greek tragedy, which cannot be interpreted in only one way. The play de-encapsulates in the mind of audience, showing the multidimensionality of human life: love, sin, religious and war customs, power, resistance, violence, murder, etc. As stated by the Georgian philosopher Merab Mamardashvili: “A sacrificial body is already a light.” Antigone is this kind of figure: she defies manmade laws, goes against power and in the name of divine love sacrifices herself.
Antigone and her brothers Eteocles and Polyneices are the children of the incestuous love of King Oedipus and his mother Jocasta. After Kreon expelled Oedipus from Thebes Oedipus’ sons Polyneices the elder and Eteocles the younger had to share the rule of Thebes. But Eteocles forcefully expelled Polyneices in order to become an absolute ruler of Thebes. Polyneices rebelled and assisted by the Argive army attempted to take over the throne of Thebes. His younger brother Eteocles fought to defend his Theban state. In the battle Eteocles’ forces were victorious, but both brothers perished at the hands of each other. Immediately after the death of his nephews Creon (Jocasta’s brother) took over the throne of Thebes. He buried Eteocles honorably according to custom and ordered to penalize Polyneices as a traitor by leaving his body unburied to be eaten by wild birds and animals. Antigone, who was to marry Creon’s son Haemon, defied the king and declared that she would bury the body of her brother Polyneices even if she faced the death as a result. She failed to persuade her sister Ismene to help her. The rebellious Antigone resisted power alone and sacrificed herself in the name of love for her brother. With this act Antigone forwent the possibility of marrying Haemon and chose to die for her beloved brother. This is expressed well in her following statement: “I, who love him, will lie down next to him, who loves me, – my criminal conduct blameless!” Afterwards when Tiresias told Creon how wrong he was for ordering Antigone’s punishment and that the curse laid his crown Creon realized his wrongdoing, but it was too late. Antigone was already dead, and when Haemon saw her dead body he committed suicide. Having heard about her son’s death Creon’s wife Eurydice also killed herself. The king was devastated.
In the end the story brings to light how power itself can destroy a person, who receives it.
Performers in the recording of Ritual After Antigone:
Louise Fuller (Soprano), Tom Drew (Tenor), Guy Elliot (Tenor), James Newby (Baritone), Nicholas Moodie (Baritone), Simon Dryer (Bass).
Recorded at the Trinity Laban Conservatoire of Music and Dance in 2013.
© ℗ GIORGI JANIASHVILI 2013.
Statement by Knut Remond, artistic director 'ohrenhoch':
"I chose "The Antigone Project: After Sophocles" by Gio Janiashvili for presentation at 'ohrenhoch, the Noise Shop' because ohrenhoch considers it right and important in connection with the ohrenhoch 'SOUNDACTIVISM01.
Antigone, thus women didn't have anything to say in this so-called democratic reign thinking, so that Antigone breaks with two world-views at the same time.
Antigone revolts against the law. In the present situation there are certain decisions and laws we should oppose against like Antigone.
Regarding refugees: We should do everything possible to save and receive the people who are fleeing. The laws passed lately in Germany (Europe) concerning refugees can't be supported from a humanitarian point of view.
We have to stop the anti-democratic legislation which is against free expression and allows total surveillance.We live in an era in which we are squeezed by force in an economical monotheistic structure commanded by reign thinking and reign rulers, which is the contrary to an enlightened so-called democratic society."
Knut Remond, artistic director 'ohrenhoch, der Geräuschladen'
Berlin_July 2017
Gio (Giorgi) Janiashvili (b. 1989, Tbilisi, Georgia) is a composer, whose creative output spans chamber, vocal, orchestral and electronic music; multimedia concert and music-theatre; sound, video, performance and installation art.
He staged concerts, multimedia performances and installations worldwide.
His major work includes: the multimedia concert MUFFLING FOG - after Martin Heidegger (2014 - Tsinandali Award 2015), Rendezvous of Friends - The Friends Become Flowers for string orchestra (2017), Triptych for orchestra (2016), EXIT YOUR FLESH! after William Blake for sound and video art (2015), the multimedia music-theatre LIFE IS REAL ONLY THEN, WHEN I AM (2013), Ek-Stasis for piano (2012), io io for viola, ensemble and electronics (2010), and etc.
Janiashvili is a resident of the United States (New York City). He received a Bachelor's and Master’s Degrees in composition from Trinity Laban Conservatoire of Music and Dance (London). His education includes the studies in composition at Tbilisi State Conservatoire. He gave seminars on his work, music, visual art, theatre, and cinema at Berklee College of Music in Boston and at Trinity Laban in London.
Website Gio Janiashvili
Live Radio ohrenhoch Late Night Show
Live broadcast from 'ohrenhoch, der Geräuschladen'
Idea and performed by Knut Remond
Tuesday 18 July 2017
from 10pm to 11pm
Radio: 88,4 MHz in Berlin
Live Stream: www.colaboradio.de
Guest: Laura Mello
Live Audience
please arrive at ohrenhoch between 9:30 and 9:50.
The ohrenhoch and ohrfeigen team is looking forward to your participation!
To hear on Sunday 16 and 23 July 2017, 2pm - 9pm:
Sound installation by M4T & Kerta von Kubin
M4T & Kerta von Kubin on 'The Flux':
As written in the Soundactivism017, do we need an absolute « here » and « now »?
Are « here » and « now » two relevant concepts to think in a processual paradigm?
« The Flux » is a sound installation which investigates this new process ontology in its relation with the environment and urban space.
It’s a proposal to be active in front of of our surrounding sounds, to use them, arrange them to create an universe, a language transcending the here and the now.
It’s a political and public-spirited action to reclaim our cities, our right to change and intervene on them.
A request to be conscious to be part of the public space, to decide and to actively take part in its structuring.
This piece is a mix of field recordings, electronic music and real instruments. The recordings inside the metro stations which are to hear at the beginning and at the end are the symbols of the fluidity and non-fixity, the melting of times and of times and spaces, which are sustaining our modern society.
There is no more absolute, no more here, and no more now.
Urban space is only a sequence of transitions, a succession of non-places, which quickly disappear from the mind of who passes through them.
Sounds are events arising and disappearing and human beings are part of this flux, as listeners and as makers, depositories of this process.
M4T is an electronic music producer, born in Italy in 1980. His music embraces lots of different genres, mantaining as common denominator the minimal structure and the accurate research about the sonority and the textures. During the last years M4T has deepened the techniques for field recordings and for building virtual synthetizers, with the aim of creating his unique and original sound.
Since 2008 he has been making lots of releases with netlabels of the ambient and IDM scene across the Europe. He also realized various collaborations with visual artists to make advertising, performances, installations and other audio-visual projects.
Kerta von Kubin is a metal sculptor and musician born in France in 1990.
After studying philosophy and musicology in Lyon she moved in 2011 to Berlin where she joined the Kunsthaus Tacheles, she began there to work with metal and exhibited her first sculptures. She also took part as guitarist, percussionist and singer in various musical projects going from improvised experimental music for movies (Holy Movie) to industrial/concrete music (Hammerschlägen), going through dark electronic (Ciguri) and toured several times in Europe.
In 2013 she founded and builded the art place Kunstwerkstatt Marzahn in Berlin, where she was working, teaching sculpture and organising socio-cultural projects.
She is now managing a new atelier/gallery and handcraft shop in Lyon where she is also leading researches in philosophy under the direction of the Pr. Mauro Carbone.
Beside her sculptural work she is also collaborating with different artists on multimedia installations, mixing metal with natural elements, video, paintings, sound...
She is also part of the Hapto association, a network of independent art places in Europe developed by and for artists, providing living, working and exhibiting spaces.
Kerta von Kubin Website
ohrenhoch presents at Kunstfestival 48 Stunden Neukölln:
a project by the ohrenhoch-Rumori_Kids
for 48 Stunden Neukölln to the theme „Shadows“
'ohrenhoch, der Geräuschladen' Berlin-Neukölln
Concept, director: Knut Remond
Opening hours:
At the Kunstfestival 48 Stunden Neukölln:
Friday 23 June: 7pm - 11pm
Saturday 24 June: 2pm - 10pm
Sunday 25 June: 2pm - 7pm
On the following 'ohrenhoch Sundays':
Sunday 2 July: 2pm - 9pm
Sunday 9 July: 2pm - 9pm
The ohrenhoch-Rumori_Kids will be filming with a smartphone the shadows of people at the playground Weichselpark, and ask them questions. Their real appearance is not filmed. The voice is confronted with the shadow and vice versa, and the camera is transmitted by livestream to a screen at the Soundgallery ohrenhoch. At the same time you can see and hear the livestream on www.ohrenhoch.tv. SHADOW LIFE is moving image in context with audio and field recording.
According to the situation - depending on the weather or technical incidents - you will see and hear a compilation of the SHADOW LIFE Video sessions of the ohrenhoch_Rumori-Kids.
The ohrenhoch_Rumori-Kids are a group, an ensemble. They have most different cultural backgrounds. With the ohrenhoch_Rumori-Kids there are also refugee children; they accomplished admirable contributions for the project SHADOW LIFE.
The risk of SHADOW LIFE is, that the sun has to shine. In this sense, SHADOW LIFE is an adventure.
Is beauty possibly residing in darkness?
Does the light-flooded, dazzling, shiny obscure the individuality, the unspectacular, the mysterious, the humorous?
Observing of the intermediate.
The permanently changing interplay of contingencies: the perceivable as the texture that connects individuals, cultures and things.
The sun as starting point of light and shadow, transferred to technology.
Lucky Luke claims that he is shooting faster than his own shadow.
Do we understand the world better through technology or rather is the western culture thinkable without technology?
The theme of SHADOW LIFE is intertwined with 'Soundactivism017 - Positioning' by ohrenhoch.
The paragraph about the ohrenhoch_Rumori-Kids in 'Soundactivism017':
Hearing, the voice, the language, participation are central instruments for a so-called (socialist) democratic togetherness.
ohrenhoch-Rumori_Kids
Knowledge Language Exchange Art
Reciprocity / unsettlement / negotiation
Media competence (interviews and songs)
Do the voices or questions fade away unheard?
Die ohrenhoch-Rumori_Kids are a mixed group of children between 5 and 14 years dealing and experimenting with hearing, listening, and consequent phenomena.
In the weekly 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.
Knut Remond
Composer, performer, multimedia artist. Founder, artistic director and curator of the soundgallery 'ohrenhoch, der Geräuschladen' in Berlin-Neukölln – an electronic and electroacoustic music presentation form, in combination with a sound-architectural space concept. Founder, director and mentor of the 'ohrenhoch-Kids' – school or research center for electroacoustic music and sound installation for children from 5 to 14 years.
Recording of the ohrenhoch-Late-Night Radio Show 'Ohrfeigen #8' (06/20/2017) with the guest Martin Steffens, festival director 48 Stunden Neukölln:
Radio Late Night Show 'Ohrfeigen #8'
Cooperation partners:
48 Stunden Neukölln
Kulturnetzwerk Neukölln
Erstaufnahme Groß-Berliner Damm
Sponsors:
Musikhaus Thomann
serve-u Technical Support
The 'ohrenhoch Sundays' are supported by:
initiative neue musik berlin e.V.
Konzert des Deutschen Musikrates
To hear on Sunday 18 May, 2pm - 9pm:
with the ohrenhoch_Rumori-Kids
Recording and composition: Knut Remond
"Shadow Life Soundflyer Loop" is a sounding flyer or announcement through a sound composition for the video livestream project "SHADOW LIFE", which will be presented by the ohrenhoch_Rumori-Kids at the Art Festival 48 Hours Neukölln on the following week-end, from Friday 23 to Sunday 25 June.
"Shadow Life Soundflyer Loop" is also a flashback of the minimalist musical composition for magnetic tape. For example the piece "Come Out" (1966) for magnetic tape by Steve Reich, which was composed almost exactly 50 years ago.
Knut Remond Juni 2017
Die ohrenhoch-Rumori_Kids sind eine gemischte Gruppe zwischen 7 und 14 Jahren, die sich mit dem Hören, Zu-hören und daraus resultierenden Phänomenen auseinandersetzt bzw. experimentiert.
In der wöchentlichen Hörschule lernen, forschen und experimentieren die ohrenhoch-Rumori_Kids. Aus ihren eigenen Ideen realisieren sie mit Geräuschen und Klängen auf Fixed Media und mit Klanginstallationen ihre Projekte. Pädagogischer Ausgangspunkt ist dabei den ohrenhoch-Rumori_Kids auf gleicher Augenhöhe und als vollwertigen Mitgliedern der Gesellschaft zu begegnen.
Knut Remond
Composer, performer, multimedia artist. Founder, artistic director and curator of the soundgallery 'ohrenhoch, der Geräuschladen' in Berlin-Neukölln – an electronic and electroacoustic music presentation form, in combination with a sound-architectural space concept. Founder, director and mentor of the 'ohrenhoch-Kids' – school or research center for electroacoustic music and sound installation for children from 5 to 14 years.
To hear on Sunday 21 and 28 May, 4 and 11 June 2017, 2pm - 9pm
(Premiere)
by Hans Grusel (USA)
Hans Grusel on 'Distillation for ohrenhoch':'
Distillation for Ohrenhoch (Spring 2017) consist of an offer of three compositions for your listening consideration. One brand new, one from a year past and a third from past years.
Turn to Black (extract composed for Ended Tymes 2017)
Organ Room (sound for animation 2016)
In Tribute (Funeral March from Zukerkerg 2011-13)
Turn to Black:
After consulting a Ouja board, a set of phonemes materialized.
I plugged them into my talk box and title came out “Turn to Black”.
The sections preceding and appending are sounds from a group of metal pipe glue sniffers in a parking garage, pulsed thru a LFO, and sent back thru a spring reverb. Nature is laid in with wind and woodgrain to complete the diorama.
Organ Room:
A distillation that grew out of a collaboration with artist Bonnie Banks and animated by Kasper. The whole piece was flapped to Osaka via Bird Friend wings in an accompaniment to our physical being in 2016.
In Tribute:
Harkens back to the opening section with a “Grundgestalt” seemingly from the larynx, with added trombone orchestra. Piece grew out of Berlin during 2011 (realized in San Francisco 2013).
"Audio Field Report" nos. 1-60 / soundactivism 1-39: 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).
Hans Grusel's Krankenkabinet
is an ever-changing woodgrain diorama of dark forest characters. Using electronics, field recordings, acoustic instruments, props, costumes and scenery, the ensemble explores the lost Teutonic rites of the past, while stumbling into the failure of the future.
Live Radio ohrenhoch Late Night Show
Live broadcast from 'ohrenhoch, der Geräuschladen'
Idea and performed by Knut Remond
Tuesday 16 May 2017
from10:00 pm until 11:00 pm
Radio: 88,4 MHz in Berlin
Live Stream: www.colaboradio.de
Guest: Elisabeth R Hager
LIVE audience please arrive at ohrenhoch between 9:30 and 9:50 pm.
The 'ohrenhoch' and Ohrfeigen team is looking forward to seeing you!
To hear on Sunday 7 and 14 May 2017, 2pm - 9pm:
(2016, German Premiere)
by Elisabeth Schimana (Austria)
Elisabeth Schimana on'Schluchten':
I wander through narrow canyons flanked by skyscrapers.
It is loud, private helicopters in the sky, the din of the street,
the park teeming with kids – restless,
the hushed homeless lying on the sidewalks.
And yet – a rooster crows, swarms of cicadas chirp,
the rumble of the strikers' drums drift over Avenida Paulista on a Sunday.
All sound material recorded by Elisabeth Schimana October 2016
Audio Field Report no. 25 / Soundactivism 4: Interview with, or audio guide by Elisabeth Schimana. Idea: Knut Remond. Ltd Edition audio cassette, 8 copies numbered.
Elisabeth Schimana
has been working as a composer, performer and radio artist since 1983.
She studied electro-acoustics and experimental music at the University of Music and Performing Arts Vienna, computermusic-composition at the IEM, Graz and musicology and ethnology at the University of Vienna. Her work concentrated for many years on space / body / electronic. She has ongoing cooperations with the Austrian Kunstradio. She also focus on research in the field of woman, art and technology. Founded IMA Institut of Media Archeology.
To hear on Sunday 9, 16, 23 and 30 April 2017, 2pm - 9pm:
Acousmatic Loop
reflected with the poem 'Grodek' by Georg Trakl
(2017, Premiere)
by Knut Remond
"Grodek" is spoken by Jacob (ohrenhoch-Rumori_Kids)
ohrenhoch-Rumori_Kids
Knowledge Language Exchange Art
Reciprocity / unsettlement / negotiation
Media competence (interviews and songs)
Do the voices or questions fade away unheard?
(Lines from 'SOUNDACTIVISM 017" by Isabella Zamboni + Knut Remond)
"FROZENTONES“ is made with the voice of Jacob with the poem "Grodek" by Georg Trakl.
The sound material are recordings of a keyboard instrument (grand piano). I processed the recorded sounds, resonances of the grand piano to connect the sort of kneaded tone constructs with documentary cellphone materials* from war zones.
* Context: The US-American general John Allen speaks at the Democratic Convention 28 July 2016 (Hillary Clinton nomination); Bombing in Jemen (2015); Military aircraft from nuclear-powered aircraft carrier "Harry S. Truman".
The grand piano recordings were preparations for workshops at basic schools in Sachsen-Anhalt. Most of the schools have a piano which the pupils halfway know as an accompanying instrument, but not as a resonating sound body that can be taken apart.
Knut Remond, April 2017
Audio Field Reports nos. 1-60 / soundactivism 1-39: 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).
Knut Remond is a composer, performer, multimedia artist, and the founder, artistic director and curator of the Soundgallery 'ohrenhoch, der Geräuschladen' in Berlin-Neukölln – an electronic and electroacoustic music presentation form, in combination with a sound-architectural space concept. Founder, director and mentor of the 'ohrenhoch-Kids' – school or research center for electroacoustic music and sound installation for children from 5 to 14 years.
ohrenhoch presents on Sunday 2 April 2017, 2pm - 9pm:
The ohrenhoch Archive invites you to hear, listen, read, and to talks on the window seat in front of the Soundgallery.
- SPECIAL: 'Audio Field Reports' nos. 1-60, since 2014
- Interview Booklets 2012 - 2013
- Sound Objects
- CDs + Audio Stories by the ohrenhoch-Kids
- Texts to SOUNDACTIVISM
- 'SOUNDACTIVISM 017' Positioning
Audio Field Reports nos. 1-60 / soundactivism 1-39: 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).
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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
Speculative 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).
Albert Raven
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.
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
(2017, Premiere)
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).
Lucie Vítková
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).
ohrenhoch presents on the Sundays 5 and 12 February 2017, 2pm - 9pm:
(2017, Premiere)
Sound/video piece
by Roxanne Varzi
Roxanne Varzi about 'Salton Sublime':
Poets and painters of the 18th century sought a religious experience in the sublime continence of nature. They enjoyed meditating on the beauty of nature’s danger and the inherent tension and possibility it always offered of sudden and assured death – as a result for example, of a fall from a high cliff, a storm at sea, a volcano’s eruption or chasm opening in the earth to swallow one whole. They also meditated on the vastness, infinity, magnificence and the resulting exultation, the possibility of being raised up, temporarily overwhelmed in a spiritual sense and being made to feel small in the face of overwhelming emotion and the awe which nature can inspire. This transcendental desire has humans seeking a god or something greater in nature. Salton Sublime meditates on the meaning of sublime today in the midst of massive environmental degradation. The Salton Sea in southern California brings a whole new meaning to the sublime as it contains both the awe-inspiring possibilities of a spiritual experience as well as terror and abject fear –especially of death. This project is a remnant of that same heritage of sublime art that seeks to engage the beauty and the terrifying danger of nature while examining both our reliance on and abuse of nature… it asks, what is ultimately left of the sublime? Can we inspire awe from terror?
Roxanne Varzi is a writer, artist, filmmaker and anthropologist. She was the recipient of the first Fulbright to Iran since the Revolution and has been published in Public Culture, Aeon, Eastern Art Report, Savage Minds and The London Review of Books; quoted in the LA Times, New York Times, Chronicle of Higher and others. Her latest book Last Scene Underground: An Ethnographic Novel of Iran won the 2016 Independent Publishers Gold Medal Award. Her film Plastic Flowers Never Die is distributed by Documentary Educational Resources and has been shown in Festivals all over the world. Her first sound installation “Whole World Blind” premiered at Soundwalk in Long Beach, and was installed in Berlin, Paris, Philadelphia, San Francisco and is featured permanently at Publicbooks.org. This is her first installation at Ohrenhoch.
Website Roxanne Varzi
ohrenhoch presents on the Sundays 8, 15, 22, 29 January 2017, 2pm - 9pm:
Sound and photo exhibition
by Tetsuo Furudate (Sound artist, Japan) and Tsutomu Otsuka (Photographer, Japan)
with sound contributions by Daniel Menche, Rudolf Eb.er, ILIOS, Hiroshi Hasegawa, Keiko Higuchi
Tetsuo Furudate about the sound exhibition FUKUSHIMA 2011-2017:
Disaster and tragedy are always existing with big noise.
Even if happened by nature or human being they needed big sound as their 'background music'. Moreover they wanted crying and many shouts from human mouth as additional sound.
We want to represent this kind of 'background music' to the photographs of Tsutomu Otsuka.
He knows that there will be coming silence by coagulation after.
Four variations based on FUKUSHIMA 2011-2017 will be presented each on a Sunday during January 2017.
Tsutomu Otsuka about the photo exhibition FUKUSHIMA:
Tohoku earthquake and tsunami happened in 2011 March 11th.
I was starting my photos series about FUKUSHIMA after that.
15,891 deaths have been confirmed by this disaster.
Oddly strangely, the rescue parties searching for victims gradually also started looking for photographs buried by flood damage.
Those were memories of lost families and proof of missing lives.
And those pictures had been metamorphosed by chemical reaction in the mud.
Especially, they fascinated me, because I already have interest in chemical change of emulsion of printed photo paper by mud since 1992.
I tried many experiments how to change in quality pictures in the mud, swamp.
That's why I cannot overlook those photos that are rescued from the disaster.
Those emulsions are exfoliated and changed in appearance.
Even if they were lost by their families, I could accept strong memory that kept.
About my landscape in FUKUSHIMA:
The nuclear accidents of FUKUSHIMA have made grave pollution and zone.
The situation of pollution has not changed still now. Even forest, fields, dwelling, lake, marsh and mud.
Landscape where everything is with radioactive material, nothing changes.
I have been entering this zone since 2014. I took landscapes without human beings. I just took branches, leaves, earth that are totally contaminated.
Tetsuo Furudate
Born in Tokyo. Started his career in experimental film and video art in 1981, then he started music and performing art. He premiered the experimental opera “Othello” 2001 at Podewil, “Auditory Sense of Mr. Roderick Usher” at Dresdner Zentrum für zeitgenössische Musik. He won the BLAUE BRÜCKE prize 2003. His radio productions were broadcasted by Deutschlandradio: “Motome-Zuka“2007, “GOYA” 2008, “Death Fragments Prelude” 2011. He premiered “DEATH FRAGMENTS” theatrical event with Edwin van der Heide and actors at Theatre Bielefeld.
Tsutomu Otsuka
He was born in Japan/Chiba prefecture, 1951.
He is an experimental photographer based on chemical reaction and he has a special sensitivity of his sexuallty.
His career started with making experimental short films.
Since 1986, he tried to establish his own style on photographic paper.
He developed his original technique that is reaction with photo paper with muds in natural swamp. We could see this result at an exhibition in 1992.
He continues trying this way to find his image.
He had many exhibitions based in Tokyo, also Lion, Los Angeles and more.
In 2011, Tōhoku earthquake and tsunami happened in Japan.
He got big effect from this tragedy.
Since after, he has been visiting the stricken area many times, and he has been taking photos there until now.
Websites:
Tetsuo Furudate
Daniel Menche
Rudolf Eb.er
ILIOS
Hiroshi Hasegawa
Keiko Higuchi
Idee and performed by Knut Remond
Tuesday 20 December 2016
from 10 pm till 11 pm
88,4 MHz in Berlin
Live Stream colaboradio.de
Guest: Chiara Fuchs (ohrenhoch-Kids)
LIVE audience please reserve on
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Please arrive at ohrenhoch at 9:30 pm. No entry after 9:50 pm!
The ohrenhoch and "ohrfeigen" team is looking forward to see you!
To hear on Sunday 18 and 25 December 2016, 2pm - 9pm:
(2016)
by Yan Jun (China) & Mattin (Spain)
Curator, loudspeaker installation: Knut Remond
Yan Jun & Mattin on 'Vote on Voting':
This is an ongoing research project exploring the relationship between democracy and experimental music. The first presentation happened in the format of a concert on the 18th of September 2016 which was the elections in Berlin. Yan Jun comes from China therefore he never participated in a general or regional democratic election. In preparation for this concert, we called all political parties and asked several questions and recorded them. Before the concert, we went to the voting poll and recorded the ambient sound there. After we went to the concert venue and reproduced the files while people were drinking. We started informal conversations with members of the audience but the audience thought that there was nothing going on. After two and a half hours a concern formulated privately by a member of the audience was shared to everybody in the room:
“Maybe democracy will stop because there is less and less people believing in it.”
Just as the conversation started, N.M.O. the group which was supposed to DJ after us, started to play music and our concert actually ended up with an election voting on whether the audience would like to have a conversation, music, both or silence. It was voted to have silence but actually nobody respected the vote and there was full on music and talking. What it was clear after this micro experiment, is that democracy is in crisis and many people in the experimental music scene are suspicious about it. This can be confirmed at the macro level with the recent political events: Brexit, Trump, Italy, FARC vote in Colombia…
For this two Sundays exhibition you will be able to hear material from our first intervention and you will be asked to vote on whether to vote or not to vote and share your thoughts with us.
Audio Field Reports nos. 1-56 / Soundactivism 1-35: Interviews since January 2014 with the 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).
Yan 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.
Mattin is an artist from Bilbao -currently living in Berlin- working with noise and improvisation. His work seeks to address the social and economic structures of experimental sonic artistic production through live performance, recordings and writing. Using a conceptual approach, he aims to question the nature and parameters of improvisation, specifically the relationship between the idea of ”freedom”and constant innovation that it traditionally implies, and the established conventions of improvisation as a genre. He is currently doing a PhD at the University of the Basque Country under the supervision of Ray Brassier and Josu Rekalde. Along with Anthony Iles they edited the book Noise & Capitalism in 2009. In 2012 CAC Brétigny and Tuamaturgia published Uconsitituted Praxis, a book collecting his writing plus interviews and reviews from performances that he has been part of. Both books are available online. Mattin has been invited to participate in documenta 14 which will take place in Athens and Kassel in 2017.
ohrenhoch presents on Sunday 4 and 11 December 2016, 2pm - 9pm:
Audio-Video Work (2016, Premiere)
by Bernadette Johnson (Switzerland)
Curator, loudspeaker installation: Knut Remond
Bernadette Johnson on 'Je suis in the kitchen':
Oil, water sugar and Mariechen.. the longing is immense. Seen from the middle of the kitchen, perhaps from the stove, a sort of kitchen-scape exists, where pans clatter and soup simmers.
„Je suis in the kitchen“ is derived from fragments of kitchen songs, which used to be sung by servants in bourgeois homes while doing their work. In the composition, I have taken this historical category of folk poems, and spiced it with irritating moments and associative ideas in order to break the sentimental tonal basis. I found the juxtaposition of harmony and disturbing elements to be most interesting. Acoustical as well as visual material gets worked over, ordered and concentrated. „Je suis in the kitchen“ rediscovers the ambivalence between fear and longing, between opinion and feelings.
BJ 2016
Audio Field Report no. 58 / Soundactivism 37: Interview with Bernadette Johnson by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
Audio Field Reports nos. 1-57 / soundactivism 1-36: Interviews since January 2014 with the artists, concept and design by Knut Remond.
Bernadette Johnson
*1955 in Saint Gall, now lives in Basel (CH).
Author of acoustical poems and audio pieces for Radio and other listening rooms. For her sound works she was awarded among others the Karl Sczuka Promotion Prize.
In her audio-visual work as well, B.J. leads us through extra-semantic areas. Relations between sounds and visual images are discovered / invented. It's a matter of tracing otherwise parallel and hidden experience spaces.
ohrenhoch presents on Sunday 20 and 27 November 2016, 2pm - 9pm:
(2014, audio/visual piece)
by Khaled Kaddal (Egypt)
Curator, loudspeaker installation: Knut Remond
Khaled Kaddal on 'Dry/Friction':
“Dry/Friction" is a 3mins audio/visual piece, questioning the political notion of the Microphone. The latest symbolises a certain authority that has a power to choose what sounds would be louder than others. By dragging it over different surfaces, constant hits and frictions result sort of drones and noises. By questioning the conceptual bonds between sound of politics and politics of sounds, the piece is experimenting with the role of a microphone from a tool of amplification to a musical instrument.
Audio Field Report no. 56 / Soundactivism 35: Interview with Khaled Kaddal by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
Audio Field Reports nos. 1-55 / soundactivism 1-34: Interviews since January 2014 with the artists, concept and design by Knut Remond.
Khaled Kaddal is an Egyptian interdisciplinary artist and experimental musician. Currently based in London, pursuing his studies on Sound Art. His works focus on the aesthetics of sound with the interest in expanded listening and the socio-political aspects of sound and music.
Scoping on the perceptions and the thresholds of listening, by questioning the radical margin between consonance and dissonance, silence and noise. Interested in enlarging the understanding of oriental aesthetic by taking it to a post-music territory, where the musical structures are de- composed to the notions of sounds. With the accompany of visuals, his performances use electronic and acoustic instruments to form a sonic narration, to dance the mind instead of the body.
Colaboradio 88,4 MHz in Berlin
Premiere on Tuesday 15 November 2016, 10pm to 11pm
Idea and performed by Knut Remond
Guest: Bill Dietz
The show is in German language.
'ohrfeigen' will take place also in the future with a guest from the world of the so-called sound art.
Online stream: colaboradio.de
Live Audience:
Guests please arrive at ohrenhoch at 9:30 pm. No entry after 9:50 pm!
The team of ohrenhoch and "ohrfeigen" is looking forward to your attendance!
Sie hören am Sonntag 6. und 13. November 2016, 14 - 21 Uhr:
(2010)
von Gaël Segalen (Frankreich)
Autorinnen: Gaël Segalen + 8 Frauen
Sprache: arabisch-französisch
Lautsprecherinstallationen: Knut Remond / ohrenhoch
Gaël Segalen über 'Thinking of you (fragments)':
Kreativer Workshop und Audiokorrespondenz mit 8 Pariser Frauen von Nordafrika: Aufnahmen und Treffen von Februar bis Mai 2010 im 17. Arrondissement (Paris).
Jede Woche nahmen die Teilnehmerinnen ein Aufnahmegerät mit nach Hause, um selbst irgendwelchen Sound zu sammeln und zu erfinden, in ihrem Privatbereich ("interiors") und im Alltagsleben, allein und mit der Umgebung, indem sie ihre Einstellung zur Zeit verfeinerten.
Diese Audio-Materialien erhielt ich auf anonyme Weise; hier ist das Audiostück, das ich ihnen zurück offerierte.
(Uraufgeführt als Stück für Kopfhörer und Audiovisuelle Installation im Theater Bouffes du Nord, Paris, Juni 2010, von dem Collectif Mu - Gaël Segalen - Vincent Voillat - Platform Siwa.
Deutsche Erstaufführung: 'ohrenhoch, der Geräuschladen' Sonntage 21. und 28. Februar 2016)
Ein Text von Gaël Segalen zu 'Thinking of you (fragments)' in Bezug zu 'Soundaktivismus' ist im 'ohrenhoch' erhältlich.
Gaël Segalen
20 Jahre im Sound, von Sozialwissenschaften über Radio, Sound am Drehort für Film, Fieldrecording, Bildung, die Welt bereisen, um Stimmen zu sammeln, Audio-Art / -Interaction, bis zu Musik komponieren - die französische Soundaktivistin, Pädagogin und Musikerin Gaël Segalen (alias IhearU) hat eine mannigfaltige Erfahrung mit Sound und konzentriert sich auf Poly-Hören, Dissonanz und Neue Musik, wie auch darauf, die Begegnung von Leuten in Improvisationsräumen zu kreieren. Sie glaubt, dass all die Geräusche, die sie gesammelt oder manipuliert hat, zusammen in einem inklusiven Geist koexistieren können, hier und jetzt, und setzt die Komplexität der Welt um in Klanglandschaften (Soundscapes) und DFR-Kompositionen (Tanzbare Fieldrecordings).
Sie ist daran, ihr Debutalbum auf Erratum herauszugeben (Frühling 2016), hat ein Diplom in konkreter und elektroakustischer Komposition in der Linie der GRM (Groupe de Recherches Musicales), arbeitet seit 2005 mit dem Pariser Collectif Mu an Sound-Art-Projekten, unterschreibt zusammen mit Joachim Montessuis das Stück und die Performance "Vertigo", arbeitet seit 2012 mit 'Afrikan Sciences' an ihrem Duo "Les Graciés" (Debutalbum auf Firecracker Mitte 2016), leitet Sound-Workshops für spezielles Publikum, komponiert Musik für Filme und Installationen.
To hear on Sunday 23 and 30 October 2016, 2pm - 9pm:
(2016, Premiere)
by Jaap Blonk (Holland)
Jaap Blonk on 'Fehlberliner U-Wirr':
When Jaap Blonk first saw the street sign “Fehrbelliner Straße”, he misread it as “Fehlberliner Straße”, and has never been able to read it in the right way again.
That is the origin of the title of this sound piece. Blonk scrambled the station lists of the Berlin subway lines, U1 till U9, with a random process. This created in part pure sound poetry, performed by Blonk with a wide range of different vocal sounds.
For the accompaniments he chose a combination of instrumental sounds and other noises, often machine sounds. The compositions are built according to algorithms, based on mathematical number sequences.
For the announcements “U1” through “U9”, as well as for the last part “The whole Berlin subway net taken together”, computer voices were used.
Audio Field Reports nos. 1-54:
Interviews since January 2014 with the artists, concept, questions, design by Knut Remond. Limited editions audio cassettes, each 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
Audio Field Report no. 55 / Soundaktivismus 34: Interview with Jaap Blonk by Knut Remond.
LABORATORY OF HEARING
Convey your thoughts relating to hearing and your experiences in the presentations of 'ohrenhoch Sundays' with the theme 'sound activism'!
With this action the Laboratory of Hearing starts on the occasion of "Dead or Ice Cream".
A sheet of paper is ready for you to write down your thoughts, questions or answers. Your statements remain in the Soundgallery and thus will be readable for all visitors and sound activists.
'ohrenhoch' is a place that tries to intensify its activities on both sides, with the artists on the one hand and the visitors on the other hand, who of course are active, too, and who can contribute to finally spur on together a social, Enlightenment discourse.
ohrenhoch, der Geräuschladen | Sept. 2016
Jaap Blonk (born 1953 in Woerden, Holland) is a self-taught composer, performer and poet.
He went to university for mathematics and musicology but did not finish those studies.
In the late 1970s he took up saxophone and started to compose music.
A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions. For almost two decades the voice was his main means for the discovery and development of new sounds.
From around the year 2000 on Blonk started work with electronics, at first using samples of his own voice, then extending the field to include pure sound synthesis as well.
He took a year off of performing in 2006. As a result, his renewed interest in mathematics made him start a research of the possibilities of algorithmic composition for the creation of music, visual animation and poetry.
As a vocalist, Jaap Blonk is unique for his powerful stage presence and almost childlike freedom in improvisation, combined with a keen grasp of structure. He has performed around the world, on all continents. With the use of live electronics the scope and range of his concerts has acquired a considerable extension.
Besides working as a soloist, he collaborated with many musicians and ensembles in the field of contemporary and improvised music, like Maja Ratkje, Mats Gustafsson, Joan La Barbara, The Ex, the Netherlands Wind Ensemble and the Ebony Band. He premiered several compositions by the German composer Carola Bauckholt, including a piece for voice and orchestra. A solo voice piece was commissioned by the Donaueschinger Musiktage 2002. On several occasions he collaborated with visual computer artist Golan Levin.
Blonk's work for radio and television includes several commissioned radio plays.
He also makes larger-scale drawings of his scores, which are being exhibited.
He has his own record label, Kontrans, featuring a total of 22 available releases so far. Other Blonk recordings appeared on Staalplaat, Basta, VICTO, Ecstatic Peace, My Dance The Skull, Monotype, Plant Migration Records, Elegua Records and Scumbag Relations.
His book/CD 'Traces of Speech' was published in 2012 by Hybriden-Verlag, Berlin. A comprehensive collection of his sound poetry came out as a book with 2 CDs in August, 2013, entitled "KLINKT".
To hear on Sunday 9 and 16 October 2016, from 2pm to 9pm:
acoustic turntable ©
ohrenhoch version
Sound installation (2016)
by Andreas Trobollowitsch
Andreas Trobollowitsch on 'acoustic turntable ©':
acoustic turntable © is a mechanical turntable consisting of a vise, a windshield wiper motor, and a metal disc mounted on it. The sound production is based on the friction of two or more materials which either are placed in the vise or laid on the metal disc.
The momentum of the abrasion and concomitant sound transformation thereby plays a central role.
With the ohrenhoch version different materials (turntable diamond stylus, chisel ...) encounter a stone slub with an engraved copyright sign which is slowly abraded and gradually vanishes completely.
Audio Field Reports nos. 1-53:
Interviews since January 2014 with the artists, concept, questions, design by Knut Remond. Limited editions audio cassettes, each 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
Audio Field Report no. 54 / soundactivism 33: Interview with Andreas Trobollowitsch by Knut Remond.
LABORATORY OF HEARING
Convey your thoughts relating to hearing and your experiences in the presentations of 'ohrenhoch Sundays' with the theme 'sound activism'!
With this action the Laboratory of Hearing starts on the occasion of "Dead or Ice Cream".
A sheet of paper is ready for you to write down your thoughts, questions or answers. Your statements remain in the Soundgallery and thus will be readable for all visitors and sound activists.
'ohrenhoch' is a place that tries to intensify its activities on both sides, with the artists on the one hand and the visitors on the other hand, who of course are active, too, and who can contribute to finally spur on together a social, Enlightenment discourse.
ohrenhoch - the Noise Shop | Sept. 2016
To hear on Sunday 25 September and 2 October 2016, 2pm - 9pm:
In the Throats of Trees
Sound installation (2016)
by Stephanie Loveless
Stephanie Loveless on 'In the Throats of Trees':
'In the Throats of Trees' is a sound installation with an accompanying booklet of listening instructions, that explores the “voices” of trees. The composition is built up of recordings the artist vocalizing with the sound of wind through the branches of five species of trees – larch, birch, pine, spruce, maple – making a dark forest of sound.
The listening instructions invite the audience to listen as trees. Trees operate within a completely different scale of time and movement from humans – what might we learn from them if we stopped to listen?
The piece is inspired by the conviction that life – and survival – in the age of the anthropocene will require the radical re-making of dominant human culture. In the Throat of Trees proposes a culture grounded in empathetic listening to the non-human, rooted voices of the world around us.
Audio Field Reports nos. 1-52:
Interviews since January 2014 with the artists, concept, questions, design by Knut Remond. Limited editions audio cassettes, each 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive space).
Audio Field Report no. 53 / Sound activism 32: Interview with Stephanie Loveless by Knut Remond.
LABORATORY OF HEARING
Convey your thoughts relating to hearing and your experiences in the presentations of 'ohrenhoch Sundays' with the theme 'sound activism'!
With this action the Laboratory of Hearing starts on the occasion of "Dead or Ice Cream".
A sheet of paper is ready for you to write down your thoughts, questions or answers. Your statements remain in the Soundgallery and thus will be readable for all visitors and sound activists.
'ohrenhoch' is a place that tries to intensify its activities on both sides, with the artists on the one hand and the visitors on the other hand, who of course are active, too, and who can contribute to finally spur on together a social, Enlightenment discourse.
ohrenhoch - the Noise Shop | Sept. 2016
To hear on Sunday 11 and 18 September 2016, 2pm - 9pm:
Dead or Ice Cream
Sound installation (2016)
by Knut Remond
Lechery, lechery; still, wars and lechery: nothing else holds fashion.
William Shakespeare
(Expulsion, hunger, poverty, nationalism, racism.)
The sound installation oscillates between 9/11 and the so-called "refugee crisis".
He jests at scars, that never felt a wound.
William Shakespeare
I refer to the sentence in "soundactivism 2016":
REPRESSIVE TOLERANCE = FAITH, HOPE, FUTURE
The sound installation is made of a 33:35 minutes loop in mono.
The installation with the so-called piece in 3 parts was made in the cellar of ohrenhoch.
It is played in two rooms with a loudspeaker in each of them.
A moving light control over a built-in microphone is part of the instrumentation.
The piece is structured in three parts with the titles:
1. „alarm“ Time: 13:09 min
2. „attack“ Time: 8:16 min
3. „sea“ Time: 12:10 min
Total time: 33:35 min
Audio Field Report no. 52 / Sound activism 31: Interview or talk with Milan Tomic by Knut Remond. The talk is about the war and the chaotic situation at present in his native country, former Yugoslavia. The interview was a spontaneous decision, namely in the context of "Dead or Ice Cream" I wanted to see somebody who speaks of his destroyed country and the resultant damaged culture.
Audio Field Reports nos. 1-51 / Soundactivism 1-30:
Interviews since January 2014 with the artists. Concept, questions, design by Knut Remond.
Limited editions audio cassettes, each 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
LABORATORY OF HEARING
Convey your thoughts relating to hearing and your experiences in the presentations of 'ohrenhoch Sundays' with the theme 'sound activism'!
With this action the Laboratory of Hearing starts on the occasion of "Dead or Ice Cream".
A sheet of paper is ready for you to write down your thoughts, questions or answers. Your statements remain in the Soundgallery and thus will be readable for all visitors and sound activists.
'ohrenhoch' is a place that tries to intensify its activities on both sides, with the artists on the one hand and the visitors on the other hand, who of course are active, too, and who can contribute to finally spur on together a social, Enlightenment discourse.
ohrenhoch - the Noise Shop | Sept. 2016
To hear on Sunday 28 August and 4 September 2016, 2pm - 9pm:
This Is For You (ohrenhoch, Berlin)
(2015)
by Tina M Pearson
With 'This Is For You (ohrenhoch, Berlin)' by Tina M Pearson ohrenhoch tries for the first time to repeat a presentation. It's a mini work in progress for ohrenhoch, Tina M Pearson and the visitors.
'This Is For You (ohrenhoch, Berlin)' was created by Tina M Pearson for the Sound Gallery ohrenhoch in August 2015, and was presented here. Those who missed 'This Is For You' now have the opportunity to hear the sound installation. For those who already heard it, 'This Is For You' can be an interesting repeating new discovery: it can mean for each individual that the present and the past, or the hearing and the heard in their complexity get related with the future.
In this context I quote Tina M Pearson for 'This Is For You': "...The perception of these audio sounds will vary depending on other sounds you hear, sounds you imagine and remember, sounds you make and how you are positioned and move through the galleries."
I am convinced that we need to percieve sounds more consciously to become more rebellious. Hearing is part of this movement because with its fineness and complexity it is a crucial factor for a new kind of enlightenment. In this spirit:
This is for you
Knut Remond
Tina M Pearson on 'This Is For You (ohrenhoch, Berlin)':
This Is for You is a location-specific installation that reimagines the ohrenhoch gallery space as a multi-dimensional score for personal listening within a sonically activated environment.
A set of texts is presented along the walls of each of the three exhibition spaces, inviting visitors to consider many different ways to perceive and listen.
This Is For You engages with the subjective territory that conjoins passive and active listening with sonic imagination, enhanced by audio signals and subtle sounds that weave in and out of the threshold of audibility. These sounds are perceived uniquely by each listener, depending on the individual’s location, height, movement, auditory ability and state of mind. This effect leaves a rich “plus one” space for the listener’s own inner realization of the score.
This Is For You dismantles the idea of a homogenous listening or performance presentation for a passive audience, placing the installation experience within the control of the listener’s intentions and perceptions, into the stark realm of alone-ness – in birth, death, sensation, – as experienced individually, solo, from a singular perspective.
Here, perhaps each listener’s unique intimate inner sounds, sonic memories and imagination can form the basis for a wildly individual and deep sonic relationship with reality; including the present and past resonance of the ohrenhoch building location; with the rock, tree roots and earth it is built on; with the flora, fauna, waters, lands and sky of its biosphere.
This Is for You is informed by Tina Pearson’s preoccupation with listening and perception, including her work with attention states, breath cycles and verbal, graphic, and text scores in music composition; her 2012-2013 project A Year of 4’33” (weekly outdoor performances of John Cage’s iconic work), and by the Sonic Meditations of the American composer Pauline Oliveros.
Audio Field Reports nos. 1-51 / Soundactivism 1-30:
Interviews since January 2014 with the artists, concept, questions, design by Knut Remond.
Limited editions audio cassettes, each 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
Audio Field Report no. 34 / Sound activism 13: Interview with Tina M Pearson by Knut Remond. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard there on headphone in the archive space).
To hear on Sunday 14 and 21 August 2016, 2pm - 9pm:
You Will Understand It, When You Come Alone
(2016, Premiere)
Interactive audio installation
by Eric Dickson
Eric Dickson on 'You Will Understand It, When You Come Alone':
You Will Understand It, When You Come Alone is an interactive audio installation, engaging the Ohrenhoch 2016 Soundactivism theme: “to what extent can we consider all of us as foreigners – as ‘others’?” As visitors move around the gallery’s basement space, they trigger motion detectors, thus unleashing a soundscape that ranges from birdsong to political speeches. The nature of this soundscape, however, is intentionally elusive. The basement space at Ohrenhoch is divided into two main chambers; a person exploring a given room within the space will only ever hear sounds emanating from the other room. If more than one person is detected in the space at any given time, the audio cuts out completely. Thus, a visitor who wishes to engage the installation must enter alone, and will never reach the source of any sound while it is being broadcast. As such, the visitor must remain an outsider throughout the course of the gallery visit, physically apart from the source of joyful sounds or straining to decipher marginally audible voices spoken at a distance. The installation thus invokes the alienating effects of some modern technologies, and also compels the experience of permanent exclusion as enforced by unknown, arbitrary rules. The relationship between visitors’ movements and the resulting soundscape is governed by a variety of computer algorithms; control of the installation passes back and forth among these algorithms, producing a shifting, unpredictable audio environment.
Audio Field Report no. 51 / Soundactivism 30:
Interview with Eric Dickson by Knut Remond.
Limited Edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and can be heard in the ohrenhoch archive space on headphone).
To hear on Sunday 31 Juli and 7 August 2016, 2pm - 9pm:
Kindernacht
or
The Night of the Children
for ohrenhoch
(2016, Premiere)
by Gisela Frick Hassenberg
Gisela Frick Hassenberg on 'Kindernacht':
Kindernacht, or The Night of the Children is a 12’ composition inspired by the resilience of children who have faced and survived abuse from dictatorial states and warfare.
Kindernacht is arranged in three parts.
The first part is a processed bass-drone entitled The Invention of the Electric Barbed Wire (2’47”) and it is sourced from the initial magnetic silence of cassette tape. It was firstly processed as waveform in the shape of electric barbed wire and then pitch shifted in order to reach magnetic woofer sound.
The second part is entitled False March (3’03”) being a false march -or start- both in terms of general composition of the piece and also being a reversed sound archive.
The third part, Kindernacht: Guten Abend, Gute Nacht (9’25”) is a base organ and metronome improvisation with further arrangements of children’s choir voice samples of Chilean - German historical archives. It ends in otherworldly field recordings of whale songs -found in internet archive- as the voice of Nature overcoming the voices of violence.
This piece has been especially composed for Ohrenhoch, der Gerauschladen Gallery located in Neukolln, Berlin and its sound design has considered the use of the cellar for playing The Invention of the Electric Barbed Wire and the main space for both False March and Kindernacht.
Audio Field Report no. 50 / soundactivism 29:
Interview with Gisela Frick Hassenberg by Knut Remond. Limited Edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and can be heard in the ohrenhoch archive space on headphone).
To hear on Sunday 17 and 24 July 2016, 2pm - 9pm:
cozy new gastfeindlichkeit
(2016, Premiere)
by Julia Mihály
Julia Mihály on 'cozy new gastfeindlichkeit':
The piece “cozy new gastfeindlichkeit“ consists of semantically decomposed speech of people telling their stories of escape. Through different methods of sound modulation, the vocal material was changed into a sound wise abstract form. The complete sound material is extracted from vocal sounds.
Displaced people tell the stories of their life before their escape, the stories of their escape and the stories of their arrival. But it’s quite obvious, that the stories don’t come to an end after the arrival. Not only the emotionality of the escape resonates in their voices, but also the new experiences and impressions at the place of their arrival.
Audio Field Report no. 49 / Sound activism 28:
Interview with Julia Mihály by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard on headphone in the ohrenhoch archive).
'ohrenhoch - the Noise Shop' presents at the Kunstfestival 48 Stunden Neukölln 2016 to the festival theme "SATT", and on two more ohrenhoch Sundays:
ACTIVE COLORIZE
full of contemporary
by the ohrenhoch-Kids and Knut Remond
Director, idea, concept: Knut Remond
"ACTIVE COLORIZE" - full of contemporary manifests itself with imagination and wit, is courageous, dazzling and inventive, surfeited with exchange of ideas, juicy with life, stuffed with ideas and colored with Utopia!
The ohrenhoch-Kids together with refugee children present a cornucopia of speech, voices and ideas from their Think Tank, by humans for humans.
Opening hours 'ohrenhoch' at 48 Stunden Neukölln 2016:
Friday 24 June: 2pm - 11pm
Saturday 25 June: 2pm - 10pm
Sunday 26 June: 2pm - 7pm
“Active Colorize” additional ohrenhoch Sundays:
Sundays 3 and 10 July: 2pm - 9pm
Unimpressed by swaggering fattened blockheads, moments of delight are thriving at 'ohrenhoch'.
The ohrenhoch-Kids together with refugee children and adolescents present "Active Colorize". These are rich, coloured sound processes, pictures and diagrams - a cornucopia crammed with innumerable segments, which are improvised and composed, and presented as a sound installation, by humans for humans.
"Active Colorize" is an activated, heterogenous, stuffed denseness. It's about hearing, listening and being heard. In this project in cooperation with Berlin Mondiale, at ohrenhoch a wonderful collaboration grew from January to June between the original ohrenhoch-Kids (since 2008) and the refugee children - the New ohrenhoch-Kids. They developed their own Think Tank: a dazzling, full sound-space-picture installation. A conglomerate leaded into the presentation or sound installation for 48 Stunden Neukölln.
Starting from German words that were translated by the Kids into Arab, Farsi, English, French and Finnish, and written on a paper on the wall. The language, the words are a bridge building to a playful context together with writing, drawing, photographing, embedded with tiny little electro-acoustic sound compositions.
We are sated, fainthearted, and stupid idiots! We destroy ourselves, and aren't aware. In our so-called cultural diversity and historic responsibility, we have to concentrate on new paths and on the ability for being imaginative. This is also my endeavor with the ohrenhoch-Kids: to support abilities, and as an ohrenhoch-Kid said: "Life is art, and art is life". Instead we meet other people with agitation, with verbal and physical violence, and with war deployment we destroy not only humans with great potential but all of us.
Knut Remond / June 2016
Cooperation partners:
48 Stunden Neukölln
Kulturnetzwerk Neukölln
Berlin Mondiale
Erstaufnahme Groß-Berliner Damm
Sponsors:
ZOOM
Musikhaus Thomann
The ohrenhoch Sundays 2016
are supported by initiative neue musik berlin e.V. and Konzert des Deutschen Musikrates
To hear on Sunday 5 and 12 June 2016, from 2pm to 9pm:
Scorched Earth
(ohrenhoch remix 2016, Premiere)
by Lauren Sarah Hayes (Scotland / USA)
Scorched Earth‘ is presented in the Audio Booth (fixed loudspeaker installation designed by Knut Remond, based on an idea by Jacob, ohrenhoch-Kids)
Lauren Sarah Hayes on 'Scorched Earth':
Scorched Earth (ohrenhoch remix 2016, premier) is part of Sounding Out Spaces, an ongoing series of collaborations between Lauren Sarah Hayes (site-responsive performance) and Tobias Feltus (analogue [+ digital] photography). This piece documents a performance at the once booming sea-side resort, now abandoned Bombay Beach, The Salton Sea, California. The Salton Sea is a man-made environmental disaster. The decaying sea is host to large-scale bird and fish die-offs. Its shores are covered with salt-encrusted skeletons. Expecting to work with portable live electronics, we were pleasantly surprised to find an abandoned piano frame on the beach. This is the only instrument that featured in the original performance. Along with the sound of birds, planes and distant freight trains. In this remix, I weave in my current response to the original performance, adding piano and live electronics. I transform the original material to reflect the ongoing transformations and degradations of the sea, which remains, in my memory, post-apocalyptic...
SPECIAL: Text by Lauren Sarah Hayes to 'Soundactivism' is available at ohrenhoch!
To hear on Sunday 22 and 29 May 2016, 2pm - 9pm:
pars stridens
&
sublocation
(2016, Premiere)
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.
To hear on Sunday 8 and 15 May 2016, 2pm - 9pm:
RHO
(2016, Premiere)
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).
To hear on Sunday 24 April and 1 May 2016, 2pm - 9pm:
MÜNCHEN GOLLIERPLATZ
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).
To hear on Sunday 10 and 17 April 2016, 2pm - 9pm:
The kitchen sessions: 4AM
An intellectual experiment in time, space and memory
(2016, Premiere)
by Sol Andersson (Sweden)
Sol Andersson on 'The kitchen sessions: 4AM':
What is presence, what is being and what does it mean? I had this idea that through recording being able to seize traces of presence or in best case scenario: the rooms own being. But how do you possibly capture a Cheshire cat? It’s not about reconstructing the sounds of the kitchen during these sessions but to create the kitchen that (in some dimensions) in time and space already exists.
The material for this piece consists of four separate 24h recording sessions made in my former kitchen in Stockholm during sep-nov 2015. For this piece I chose to work with the recordings made 4AM.
Audio Field Report no. 45 / Sound activism 24: Interview with Sol Andersson by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and can be heard there on headphone in the archive space).
To hear on Sunday 27 March and 3 April 2016, 2pm - 9pm:
El Pozo (the hole)
(2016, Premiere)
by Cecilia Castro (Argentina)
Cecilia Castro on 'El Pozo':
The piece was made entirely with sounds from inside mines.
Workers breaking stones,
landslides,
pumps,
machines.
Low sounds that suffocate, projected lack of oxygen. The reverbs and delays tell us about the space. The sequence of sounds tell about mineral extraction modes in the history of Latin America.
and land sounds louder each time, and sometimes Beats.
//////
Latin America has a long history and an unfortunate relationship with the extraction of minerals. The arrival of Europeans to America in 1492, write the path by which we are walking today. By that time the Cerro Rico in Potosí (Bolivia) became the International Money Fund for the development of Europe and now is perhaps one of the poorest town of the region.
And nothing has changed. At present there are mining companies, mostly Canadian, who develop open pit mining in the north of my country. The current consequences are not only social and economic but also environmental.
These companies, such as Barrick Gold, not only leave poverty. The systems currently used to extract minerals dry rivers and contaminated with cyanide lands and waters.
Then they go and leave only The Hole…
Audio Field Report no. 44 / Soundactivism 23: Interview with Cecilia Castro by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and can be heard there on headphone in the archive space).
To hear on Sunday 13 and 20 March 2016, 14 - 21 Uhr:
Tinnitus Studies
by Hui Ye (China, Austria)
Hui Ye on 'Tinnitus Studies':
Tinnitus is an auditive perception of sounds arising without physical vibrations. The persons concerned hear sounds that don't exist in the world outside their bodies. This hearing experience is compulsive and utterly intimate.
By means of auditive as well as language tools the artist seeks possible approaches to this phenomenon to give a small insight to the inner worlds of perception and the sufferings of the persons concerned.
Through rendering audible the tinnitus sensations this utterly personal and also compulsive hearing experience can be simulated and thereby transformed into a shared sensation.
Hui Ye particularly refers to the following SOUNDACTIVISM Words by ohrenhoch:
"To what extent can we consider all of us as foreigners - as "others"?
How can we develop hybrid identities and more integrative spaces?"
Hui Ye: If somebody hears sounds that don't exist outside of her/his body it becomes an utterly intimate and unshareable hearing experience. For any other person there is no approach possible to a shared auditive experience of this sound world. In our every-day life where a shared hearing experience is also part of the social life, somebody with unshareable and hardly communicable experiences such as Tinnitus is consequently regarded as "other".
In the work - Tinnitus Studies, I try to create an integrative space for "Tinnitus Persons" by means of auditive imitations of Tinnitus sounds as well as by means of text/language.
Audio Field Report no. 43 / Sound activism 22: Interview with Hui Ye by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and hearable there on headphone in the archive space).
'ohrenhoch, der Geräuschladen' presents on Sunday 28 February and 6 March 2016, 2pm - 9pm:
smash cars, and LOVE
Soundtrack (uncut) with mobile loudspeaker installation (2016)
by Knut Remond
"The revolution is great, everything else is bullshit"
Rosa Luxemburg
'smash cars, and LOVE' is a protest song, out of urgency and in relation with the questions to all interested people with alert ears, questions which together with Isabella Zamboni I realised with the new Words 'SOUNDACTIVISM 2016' (available in printed form at ohrenhoch).
'smash cars and LOVE' contains the questions: „Impact beyond sound“ and "Sounds of the present = the aesthetical into the political".
'smash cars, and LOVE' also originates from the current incidents with warmongers, neoliberals, racists and fire raisers operating with the most stupid language and dictating and spreading the discourse.
From this I conclude that weapons are more important than humans, or that for many politicians and media representatives humans who come crossing the sea are more dangerous than e.g. the seas being trashstrewn with plastic and atomic waste.
Honey, shoot me to hell.
We are flooded by cars, not by humans.
'smash cars, and LOVE' also refers to the car, which to me represents the most idiotic vehicle the humanity ever invented, and to the fact that the number of the toxic, destructive sheet metal bombs is continuously increasing.
I put love and revolution on the same level.
Sweety, give me intelligent words!
We urgently need courage to a new solidary more experimental coexistence, and in my opinion it is urgently required to raise our awareness on how threatening the situation is of the world as a whole, and what else will we allow that reveals as apocalyptic.
Being an artist means to incorporate in one's performance the social and political things. Everything else is bullshit.
Knut Remond, February 2016
Audio Field Report no. 42 / Sound activism 21: Interview with Knut Remond by Isabella Zamboni. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard there on headphone in the archive space).
To hear on Sunday 14 and 21 February 2016, 2pm - 9pm:
Thinking of you (fragments)
(2010, German Premiere)
by Gaël Segalen (France)
Authors: Gaël Segalen + 8 women
Language: arabic-french
Loudspeaker installations: Knut Remond / ohrenhoch
Gaël Segalen on 'Thinking of you (fragments)':
Creative workshop and audio correspondence with 8 parisian women from North Africa: recordings and meetings from february to may 2010 in the 17th arrondissement (Paris).
Every week, the participants were taking back home a recorder to collect and invent any sound by themselves, in their own privacy (“interiors”) and in the everyday life, alone and with the environment, refining their approach with time.
Receiving those materials on an anonymous mode, here is the audio piece i offered back to them.
(Premiered as Piece for headphones and audiovisual installation at the Bouffes du Nord theater, Paris, june 2010, by Collectif Mu - Gaël Segalen - Vincent Voillat - Platform Siwa)
A Text by Gaël Segalen to 'Thinking of you (fragments)' in relation to 'Soundactivism' is available at ohrenhoch.
To hear on Sunday 31 January and 7 February 2016, 2pm - 9pm:
Untitled piece (2016, Premiere)
by Patrik Lechner (Austria)
Loudspeaker installation: Knut Remond / ohrenhoch
Patrik Lechner on his piece:
The piece is a composition of three elements; the main part is formed by a synthesized ambient sound. Here a kind of parametric/synthetic abstract thunderstorm was created, it provides the frame around the two other parts.
The second part came from the attempt to create percussive, rhythmic structures by particle systems. As the result was satisfying intellectually but not aesthetically, it was subsequently processed as vigorously until it met my artistic requirements.
The third part however is a purely aesthetically motivated percussive work.
So this piece forms quasi an engagement with the interplay inherent in art between the intellect and the pure pleasure. All sounds are purely synthetic, i.e. no field recordings, samples or similar were used.
To hear on Sunday 17 and 24 January 2016, 2pm - 9pm:
practice
(2015-2016, Premiere)
by Yan Jun (China)
Loudspeaker installation: Knut Remond / ohrenhoch
Yan Jun on 'practice':
this piece is initiate from an interest rather than an idea. an interest of editing. or, to be more precisely, an interest of cutting the sound. a way of showing and listening to the hand of artist, the manipulator of reality.
the material itself is not pure acoustic object (acousmatic). it's easy to recognize: steps on wooden floor, camera shutters, and maybe breaths. for people know my work they can find hint of its source from my website. yes it's about theory of image, documenting, violence of aesthetics, minimal listening, body movements, and so on. but still, they are sounds, as medium, of illusion, of real, or, of themselves.
recently i'm working a lot on recording of rehearsal, practice, sound check, interval, moments before and after events, of people on working, and of audiences.
this piece is specifically made for ohrenhoch's Sunday presentation.
Audio Field Report no. 41 / Sound activism 20: Interview with Yan Jun by Knut Remond. Limited edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and can be heard there on headphone in the archive space).
To hear on Sunday 3 and 10 January 2016, 2pm - 9pm:
Ornaments II
(2015, Premiere)
by Ricardo Arias (Colombia)
Loudspeaker installation: Knut Remond / ohrenhoch
Ricardo Arias on 'Ornaments II':
The first version of the piece Ornaments was composed for You may or you may not be (see link below), an event organized by Modelab to mark the 95th anniversary of Erik Satie’s Musique d’Ameublement (Furniture Music) and presented at Ex-Galerie Barbazanges in Paris on March 8, 2015. It was a short piece which proposed placing a few ornamental objects on top of Satie’s pieces of musical furniture. Each ornament is tied or secured to another instance (occurrence) of itself or of another object by a gliding sound thread. The second version of Ornaments, much longer tan the first, presents four objects and lays them out on top of the furniture music in a very careful, slow and protracted manner.
Audio Field Report no. 40 / Sound activism 19: Interview with Ricardo Arias by Knut Remond. Limited Edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, the Noise Shop' (and to hear there on headphone in the archive space).
To hear on Sunday 20 and 27 December 2015, 2pm - 9pm:
Sprachgerüste, Sprachgelüste
(2015, Premiere)
by Laura Mello (Germany)
Loudspeaker installations: Knut Remond / ohrenhoch
Laura Mello on 'Sprachgerüste, Sprachgelüste':
"Meaning, undivided, impenetrable, unnamable, would however be posited in the distance like a mirage, making the vocal exercise into a double landscape, furnished with a "background"; but instead of the music of the phonemes being the "background" of our messages (as happens in our poetry), meaning would now be the vanishing point of delectation." (Roland Barthes in 'The Rustle of Language', transl. by Richard Howard, orig. Das Rauschen der Sprache, Suhrkamp, Frankfurt am Main, 2005)
How do we listen to language, what do we perceive before we understand the sense of the words?
The spoken German language is disassembled in its sonic qualities, and will be spread in the spaces of the Soundgallery ohrenhoch. At the entrance, a framework of melodic-rhythmical patterns; in the Audio Booth, consonants; in the cellar, extremely slowed vowels.
Between these spaces each visitor is offered a distinct perception of the sound of language, as a suggestion, as a shadow of oneself, as a dream, as an inner notion of language and sense, the traces of a medium that is also one of the frameworks of our personality.
Audio Field Report no. 39 / Sound activism 18: Interview with Laura Mello by Knut Remond. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard on headphone in the ohrenhoch archive space).
To hear on Sunday 6 and 13 December 2015, 2pm - 9pm:
Preparations for an Imaginary Conflict
(2015, Premiere)
by Cathy Lane (UK)
Cathy Lane on 'Preparations for an Imaginary Conflict':
"We are concerned here not so much with the almost natural phenomenon of identifying an enemy who is threatening us, but with the process of creating and demonizing the enemy."
Umberto Eco
Sound and language are powerful tools in the construction of imagined conflict scenarios and their aftermaths. ‘Preparations for an Imaginary Conflict' draws on the rhetoric of war and how it has been used to prepare (and scare) the public for a possible attack or to build up the idea of the hostile ‘other’ in a number of real and fictional situations over the last seventy years. The work includes spoken word recordings from public information media, oral history, archival news, texts and field recordings from specific geographical sites.
As I write this, the very same phrases are being used by David Cameron, the prime minister of the UK, as he tries to persuade the country and the government to bomb Syria.
Cathy Lane, London, November 2015
Sunday 22 and 29 November 2015, 2pm - 9pm:
Cynical Fragments
20 sound pieces with 75 color drawings
(2015, Premiere)
by Prune Bécheau (France)
Fragments, crumbs, grimaces, anecdotes, snags, tatters, clippings, remains, apings, jeers, invectives, in the method of, among others, Greek cynics.
Special: The text by Prune Bécheau on 'Cynical Fragments' in relation to the theme SOUNDACTIVISM ist available at 'ohrenhoch, der Geräuschladen'.
To hear on Sunday 15 November 2015, 2pm - 9pm:
unlimited
Sound piece (2015, Premiere)
by Knut Remond (Germany)
with material from the field recording walk and workshop "Zugvögel" "Migratory birds" (Coordination: Dionysis Anemogiannis) with migrant, refugee and residing children and their parents.
Workshop description:
On 26, 27 October 2016 a mixed group of migrant, refugee and residing children and their parents in Heinersdorf, Brandenburg, came together and took part in an experiential workshop about language and sound. This BYOB *Bring Your Own Language* workshop, set the emphasis on non-verbal and untranslated verbal communication, but also environmental sounds as the tools to explore and invent new ways of communication.
The sound composition by Knut Remond, featured in 'ohrenhoch, der Geräuschladen', is comprised of sound clips from a soundwalk conducted in the neighborhood and a story-telling and singing session that took place during the workshop, with the addition of recordings of migratory birds from Brandenburg contributed by the sound archive of the Museum für Naturkunde Berlin.
The workshop Zugvögel, was funded by the stART programme, a programme by Robert Bosch Stiftung, conducted in collaboration with the Goethe-Institut Thessaloniki and the Bundesvereinigung Soziokultureller Zentren e.V.
The ohrenhoch-Kids want to inform you that their radio composition
METEJAMYAC
will be broadcasted on Deutschlandradio Kultur (Berlin: 89,6 MHz) on
Friday 6 November 2015 from 10 pm to 10:30 pm.
Program note by Deutschlandradio Kultur:
Ohren hoch!
Eine Musikschule der anderen Art in Berlin-Neukölln
Von Leonie Reineke
In der ohrenhoch-Kids Musikschule in Berlin Neukölln lernen, forschen und experimentieren Kinder und Jugendliche im Alter zwischen fünf und 13 Jahren mit elektronischen Musikinstrumenten und Geräten. Aus ihren Ideen realisieren sie akusmatische Kompositionen, Klanginstallationen oder Hörspielprojekte. Pädagogischer Ausgangspunkt des Leiters der Musikschule Knut Remond ist, die ohrenhoch-Kids ernst zu nehmen und das Gespräch auf Themen zu lenken, die im Alltag der Schüler von Bedeutung sind. Für den 'Einstand' erarbeiteten die ohrenhoch-Kids eine Komposition, in der sie sich gezielt mit dem Medium Radio auseinandersetzen.
ohrenhoch presents on
Sunday 1 and 8 November 2015, 2pm - 9pm:
aus den Papierwerken 1
an apparatus to lengthwise cut a roll of paper with a thread
(2015)
by Volkmar Klien (Austria)
Volkmar Klien on 'aus den Papierwerken 1':
"aus den Papierwerken 1" is an offer to bind oneself in the here and now in this world of telepresences and simultaneities.
Steady movement serves as a source of fragile sound that yet remains within a framework of the expectable without merging into it. The origin of the sounds lies in front of you, is rolled out and in in front of you. Precisely the action in its sonic reality, the crackle and the pulling let concreteness flash that always eludes medial representation.
[translation from German: Katharina Moos]
Audio Field Report no. 38 / Sound activism 17: Interview with Volkmar Klien by Knut Remond. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard there on headphone no.1).
To hear on Sunday 18 and 25 October 2015, 2pm - 9pm:
Melbourne Calls
(2015, World Premiere)
by Viv Corringham (USA, UK)
Viv Corringham on 'Melbourne Calls':
In Melbourne, Australia, I met three people with different perspectives on sound. I asked them to take me to places where sound is the key element for them.
Warren Burt, a new music composer, took me to the loud and exuberant Southern Cross Station. Anthony Megan, an acoustic ecologist, led me on a sound walk where nature and city coexist. Catherine Clover, an artist engaged in the study of bird languages, chose a secluded canal path.
Later I returned to these three places alone and responded to the soundscapes with vocal improvisations. This work includes (unprocessed) field recordings, comments from my three guides and my singing.
"Melbourne Calls" and "sound activism"
It starts with listening, paying attention.
Asking questions as we walk in Melbourne:
What is the loudest sound here and who owns it? (Always a clue as to where power lies.)
Not so much sound as agent but sound in its own right.
Acoustic ecology.
Sounds change and disappear - who decides? What kind of sonic environment do we want?
Only quiet sounds of Nature?
(Learning to listen to crows and starlings as if for the first time: noting the lure of the exotic and disregard for the ordinary.)
What about the pleasures of noise?
These loud machines mean good public transport policy.
How can I find my own place in the environment?
If I sing with the soundscape, can our sounds be in balance together?
ohrenhoch, der Geräuschladen presents to the theme „soundactivism“
Sunday 4 and 11 October 2015, 2pm - 9pm
25th anniversary of German Unity
Bring on the Magic of Coca Cola
for Tape
(2010 / 2015)
by Knut Remond (Germany)
For the presentation at 'ohrenhoch' the tape is played on a stereo reel to reel tape recorder AKAI X-201D with auto reverse.
'Bring on the Magic of Coca-Cola' is a sound-documentary work (doc.sound) dealing with politics and music in the context of the turnaround in 1989/90.
'Bring on the Magic of Coca-Cola' was created as the core and timeline of Knut Remond's oratorio 'Erhebe Deine Stimme' (Raise your Voice) for double choir, pupils and tape' (2010). Other parts of the oratorio are sequences of 7 minutes composed and conducted by the pupils themselves. The oratorio was premiered on October 3rd 2010 at Philharmonie Berlin, with the choirs Berliner Cappella and Deutscher Jugendkammerchor, and pupils of Berlin schools.
'Bring on the Magic of Coca-Cola' is presented separately for the first time, in a slightly processed version specially for 'ohrenhoch'.
The tape composition 'Bring on the Magic of Coca Cola' is based on words and sentences of politicians and forms a conglomerate of speech or speech acts that are informed in particular by ritual, emotionality and social foreign domination. Speech and the speech act as a weapon of the rulers points in its performativity on individuals who as a quintessence form a silent crowd, and leads to uncontradicted acceptance of authority and specific oppression. (Knut Remond, October 2015)
"You learned the concept 'pain' when you learned language." Ludwig Wittgenstein
To hear on Sunday 20 and 27 September 2015, 2pm - 9pm:
Democracy isn't just a Tweet away
(2015, German Premiere)
by Shelly Knotts (UK)
Shelly Knotts on'Democracy isn't just a Tweet away':
"Democracy isn’t just a Tweet away" [1] comments on the simplification and polarisation of political rhetoric and on popular opinions that Twitter and other social media platforms are democratising forces in the 21st century, for example the widely held view that Twitter was a powerful force capable of liberating the Iranian people in the 2009 Iranian elections. The installation uses a set of collated tweets from political leaders. The tweets are analysed for their word usage and re-synthesised using audio recordings of political speeches. The sound of the ‘audio-tweets’ will be processed so that words which are more commonly used are more audible to visitors to the installation and infrequently used words are highly processed to the point of being unrecognisable, forming a incomprehensible backdrop of vocal-like sounds.
[1] Gedmin, Jeffrey. (2010, April 22). Democracy isn’t just a tweet away. Link to the online article.
Audio Field Report no. 35 / sound activism 14: Interview with Shelly Knotts by Knut Remond. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard there on headphone).
To hear on Sunday 6 and 13 September 2015, 2pm - 9pm:
Why is why of no stranger
Specially created for the Bassbox loudspeaker installation in the ohrenhoch cellar
(2014, Premiere)
by Stelios Manousakis (Greece)
Stelios Manousakis on 'Why is why of no stranger':
'Why is why of no stranger' is a first-person sound-film without image; It is meant to be experienced as an immersive, spatially distributed acousmatic environment with no beginning and end. The piece is concerned with embodiment, mediated memory, and hyperreality. While its medium is sound, it aims beyond a purely sonic experience. Cinematic motives and modalities are abstracted to create, develop, and destroy fragments of narrative, places, and psychogeographic auras. The film emerges in the visitors’ minds through their ears, as they move through the gallery.
The piece is composed using original sound material recorded from 2008 to 2013 in various locations, in:
USA: Mount Rainier, Washington; Seattle, Washington; Redwood National Forest, California; Humbolt Redwood Forest, California; San Francisco, California; Oahu, Hawaii
Austria: Vienna; Kramsach, Tirol
The Netherlands: The Hague; Scheveningen; Ijmuiden bunkers
Greece: Chrisi Akti, Crete; Kontokynigi, Crete
Special: In-depth text by Stelios Manousakis to his piece 'Why is why of no stranger' in relation to the theme 'Sound activism', which ohrenhoch deals with in 2015. The text is available at 'ohrenhoch'.
Sunday 23 and 30 August 2015, 2pm - 9pm:
Submerged: Silent Service
(2015, World Premiere)
by Louise K Wilson (UK)
Louise K. Wilson on 'Submerged: Silent Service':
Submerged: Silent Service explores the idea of a ‘gentle’ auditory activism in which background intensities are brought to the fore, resulting in a politically charged ambient soundscape. In this case, the legible voices and most obvious ‘music’ from selected submarine films’ sound tracks have been removed. The piece stems from a conversation the artist had with a submariner who described how when watching feature films, he found himself habitually concentrating on the auditory ‘background’ rather than the dialogue.Special: Louise K Wilson wrote a text about her piece 'Submerged: Silent Service' in relation to the theme 'Sound activism', with which ohrenhoch deals in 2015. The text is available at 'ohrenhoch'.
Special: Louise K Wilson wrote a text about her piece 'Submerged: Silent Service' in relation to the theme 'Sound activism', with which ohrenhoch deals in 2015. The text is available at 'ohrenhoch'.
Sunday 9 and 16 August 2015, 2pm - 9pm:
This Is For You (ohrenhoch Berlin)
Sound installation (Premiere)
by Tina M Pearson (Canada)
Tina M. Pearson on 'This Is For You':
This Is for You is a location-specific installation that reimagines the ohrenhoch gallery space as a multi-dimensional score for personal listening within an active acoustic space. A set of texts is presented along the walls of each of the exhibition spaces, giving visitors detailed invitations to consider for perceiving and listening in the space.
This Is For You engages with the subjective territory that conjoins passive and active listening with sonic imagination, enhanced by audio signals and subtle sounds that weave in and out of the threshold of audibility. These sounds are perceived uniquely by each listener, depending on the individual’s location, height, movement, auditory ability and state of mind. This effect leaves a rich “plus one” space for the listener’s own inner realization of the score.
This Is For You dismantles the idea of a homogenous listening or performance presentation for a passive audience, placing the installation experience solidly within the control of the listener’s intentions and perceptions. The stark realities of alone-ness – in birth, death, sensation, perception – as experienced individually, solo, from a singular perspective, make the work challenging, perhaps, provocative, as experienced inside the mind.
It uncovers a desire, however, to uncover for the listener the traces of a stark, sophisticated inter-relationship with the complex world of sound – with the listener’s unique intimate inner sounds, sonic memories and imagination as the basis for a wildly individual and deep sonic relationship with reality; the present and past resonance of the building location; with the rock, root and earth it is built on; with the flora, fauna, waters, lands and sky of its biosphere.
This Is for You is informed by Tina Pearson’s preoccupation with listening and perception, including her work with attention states, breath cycles and verbal, graphic, and text scores in music composition; her 2012-2013 project A Year of 4’33” (weekly outdoor performances of John Cage’s iconic work), and by the Sonic Meditations of the American composer Pauline Oliveros.
Audio Field Report no. 34 / Sound activism 13: Interview with Tina M Pearson by Knut Remond. Limited Edition audio cassette, 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard there on headphone no.1).
'ohrenhoch - the Noise Shop' presents on Sunday 12 and 19 July 2015, 2pm - 9pm:
Extension: Sunday 26 July and 2 August!
AGNES, TINA, LION & MATHIS
Sound installation (Premiere)
by Alois Späth
Alois Späth on 'AGNES, TINA, LION & MATHIS":
The tripartite sound installation shown in 'ohrenhoch - the Noise Shop' has grown out of the simple recognition that serially (mass-)produced things and everyday objects look alike for our eyes but reveal their individual own sound and differ from each other, as soon as we listen into their inside, for example by flicking them with a finger and making them sound.
So-called transducers – small special loudspeakers by oscillation that only in contact with objects diffuse their sound through them – are placed on metal hangers, book-stands, glass flower vases and ceramic saucers as resonating bodies.
The serially produced IKEA furniture objects reproduce sounds of quite normal everyday situations, living spaces and experiences. Each object with its own sound resonates with the sound being played back on it, and colors it, whereas its own sound slightly to strongly differs from the own sound of the other object which visually seems identical.
In the overall impression it can be heard that the single objects provide a seemingly musical sound garment to the played-back basic sound and make the sound wander at times through the installation by "resonating" in different ways - much the same as in a surround or multichannel installation.
[Translation from German: Katharina Moos]
Relating to the question "sound activism" with which ohrenhoch deals in 2015, Alois Späth writes:
"Sound, when made and heard by humans, creates self-definition and individuality. Sound art, as every art form, transports empowerment. Self-definition and individuality further and further create diversity and variety, which in turn multiply. [Translation from German: K.Moos]
Audio Field Report no. 33 / Sound activism 12: Interview with Alois Späth by Knut Remond. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard there on headphone no.1).
ohrenhoch, der Geräuschladen präsentiert am Festival 48 Stunden Neukölln (Festivalthema „S.O.S. - Kunst rettet die Welt"):
unerhört.
von den ohrenhoch-Kids
Freitag 26. Juni 19 - 23 Uhr
Samstag 27. Juni 14 - 23 Uhr
Sonntag 28. Juni 14 - 19 Uhr
und an den ohrenhoch-Sonntagen
Sonntag 5. Juli 14 - 21 Uhr
unerhört.
Ein Patchwork aus Fieldrecordings, Interviews, Klanginstallationen, Performance und Soundaktionen. Die ohrenhoch-Kids forschen nach dem Unerhörten, in Auseinandersetzung mit Herrschaft, Krieg und Ökologie, und in aktiver Vermittlung und Teilnahme am gesellschaftlichen Diskurs.
ohrenhoch-Kids seit 2008
Die Soundgalerie 'ohrenhoch, der Geräuschladen' wurde 2008 parallel mit der ohrenhoch-Schule eröffnet. In der ohrenhoch-Schule lernen, forschen und experimentieren die ohrenhoch-Kids im Alter zwischen 5 und 13 Jahren. Aus ihren eigenen Ideen realisieren sie akustische Projekte auf Fixed Media mit elektroakustischen/akusmatischen Kompositionen, Performance, Field Recordings (Feldaufnahmen) und Klanginstallationen. Pädagogischer Ausgangspunkt ist dabei den ohrenhoch-Kids auf gleicher Augenhöhe und als vollwertigen Mitgliedern der Gesellschaft zu begegnen. Leiter und Mentor der ohrenhoch-Kids ist Knut Remond, der künstlerische Leiter von 'ohrenhoch, der Geräuschladen'. Die ohrenhoch-Kids wirken auf derselben Plattform wie die internationalen KlangkünstlerInnen, deren Werke jeden Sonntag in der Soundgalerie präsentiert werden.
Idee, Gestaltung und Ausführung: Chiara, Elias, Tarek, Yuri, Elsa, Jacob, Aila, Manuel, Alma, Minze.
Leitung: Knut Remond
Die ohrenhoch-Kids haben in unterschiedlichen Themenfeldern über Zerstörung und Ausbeutung der globalisierten Welt debattiert und mit den akustischen Möglichkeiten verschiedene Projekte realisiert. Es sind aktivistische, mutige, aber auch witzige und zukunftsweisende Ideen entstanden, die eines gemeinsam haben: Die Überzeugung, dass jeder Mensch seine individuellen Möglichkeiten aktiv einsetzen kann, um in seinem Umfeld und in der Gesellschaft für eine bessere und solidarische, fantasievollere Welt einzustehen.
unerhört
Die Welt bzw. die medialen Informationen bestehen nicht nur aus Bildern und Texten, sondern auch aus Akustischem. ohrenhoch und die ohrenhoch-Schule basieren auf der Grundlage des Hörens und versuchen, das Akustische bzw. den Begriff der Musik aus seinen engen Schranken zu befreien. Töne, Geräusche und Klänge sind nicht nur in sog. musikalischen Dingen enthalten. Es geht um eine Demokratisierung, um die Hierarchien in der Musik, im Leben, in unserem Alltag aufzulösen. Die Vielfalt der Akustik wird bei den ohrenhoch-Kids auf unterschiedlichsten Ebenen in einem interdisziplinären Kontext gespiegelt, transformiert und kontrastiert, um die Welt besser zu verstehen und aktiver und kritischer für sich selbst und für andere zu sein.
Soundaktivismus
"unerhört" ist speziell im Zusammenhang mit der Fragestellung „Soundaktivismus“ entstanden, die das Grundmotiv der Soundgalerie ohrenhoch im Jahr 2015 darstellt und aus unterschiedlichen Perspektiven von KlangkünstlerInnen und KomponistInnen reflektiert und präsentiert wird.
S.O.S. - Kunst rettet die Welt
Die ohrenhoch-Kids konzentrieren sich auf unsere Ohren, das heisst auf die akustischen Möglichkeiten, um aktiv und kritisch daran teilzunehmen, die Zustände der jetzigen Weltordnung zu hinterfragen. Die ohrenhoch-Kids haben für S.O.S. unterschiedliche Projekte angefertigt, um die Menschen zu sensibilisieren und auf die Kunst der Akustik hinzuweisen, und dies in einem unabhängigen, kritischen und lebhaften Diskurs. Sie wollen auch darauf hinweisen, dass jeder einzelne Mensch mit seinem Hören und überhaupt mit seinen Sinnen aktiv etwas verändern und mitbestimmen kann, jede/r mit seinen persönlichen gestalterischen Möglichkeiten.
"unerhört" besteht aus 7 unterschiedlichen Projekten, die für 48 Stunden Neukölln von den ohrenhoch-Kids präsentiert werden:
„Mitten auf der Strasse" (in Neukölln)
ein Loop-Stück, ertönt im Gallery-Raum auf der fest installierten ohrenhoch-Lautsprecherinstallation. Es besteht aus Geräusch-Interviews mit PassantInnen auf den Strassen von Neukölln. Die ohrenhoch-Kids haben mit ihrem Tonbandgerät Erwachsene und Kinder gefragt, ob sie mit ihrer Stimme ein Geräusch machen könnten und sie es aufnehmen dürften. Sie haben kleine winzige Aufnahmen gesammelt, die sie zum Schluss kompositorisch zu einem Loop-Stück zusammengeführt haben.
„Bewegungs-Mitmach-Kopfhörer“ „Movement-experience-headphones“
Ebenfalls im Gallery-Raum von ohrenhoch befinden sich auf den Regalbrettern die "Hör-Becher", gefertigt aus präparierten Wegwerf-Kaffeebechern, die man an die Ohren halten kann und die durch Klopfen, Kratzen, Schaben und Reiben zu Geräusch-Erlebnissen führen.
„Bundes-WEHR?" (Performance)
Im Gallery-Raum wird spontan (ohne Zeitangaben, wiederholt über die 48 Stunden) eine Performance stattfinden , die auf einer Video-Werbung der Bundeswehr 2013 beruht. Der Originaltitel der Video-Werbung ist: „Karriere mit Zukunft“.
„Werft die Fahnen fort"
ist eine (Musik-) Performance, die auf Texten von Kurt Tucholsky basiert. Die Aufführungen finden wiederholt über die 48 Stunden statt, ohne Zeitangabe.
„Bundes-WEHR?" (Feature)
Ein Feature von Tarek, Yuri und Knut. Mit Interviews, die Tarek und Yuri geführt haben. Im ohrenhoch-Archiv 'Die Kartoffel' wird auf einem Kopfhörer das Stück „Bundes-WEHR?“ präsentiert. Es sind Smartphone-Aufnahmen von Befragungen verschiedener Menschen über Krieg, die Bundeswehr und die Politik der Bundesregierung. Aus den gesammelten Interviews und den Soundbearbeitungen von Tarek und Yuri hat Knut Remond eine Komposition, ein sog. Feature kreiert.
„Singapore"
ist eine elektroakustische (akusmatische) Komposition, bestehend aus Feldaufnahmen aus Singapur. Jacob verbrachte mit seinen Eltern ein Jahr in Singapur und durfte von ohrenhoch ein Tonbandgerät mitnehmen. Er hat in Singapur verschiedene Aufnahmen von Insekten gemacht und sie später in Berlin bei ohrenhoch zusammen mit Manuel zu einer speziellen Soundkomposition verarbeitet.
„No Future"
„No Future“ ist eine elektroakustische (akusmatische) Komposition von Chiara und findet über die fest installierte Lautsprecher-Installation „Bassbox“ in den Kellerräumen statt. Es geht bei „No Future“ um die Zerstörung des Regenwaldes.
'ohrenhoch -the Noise Shop' presents on Sunday 14 and 21 June 2015, 2pm - 9pm:
pájaro suelto
Sound installation
Bird cages, feathers, steel strings, guitar tuning pegs, dc motors and piezos
(2015, Premiere)
by Rubén D'Hers
Rubén D'Hers on 'pájaro suelto':
Inside two bird cages there is one small motor strumming steel strings that are stretched inside the cage. Different recordings of birds living inside a cage define the way the motor spins, making the feather attached to the motor to touch the strings slightly. The tuning pegs allow to tune the cage. So, when the birds are singing a chord / tuning emerges.
(notes about the cages while making the work)
the tuning |opens| or enclose what is inside the cage
|release|
but i don't know exactly what is inside the cage...
To tune in order to open and close
to expand and compress
to release and catch something
the cage is not blocking anymore
now, it becomes the resonating body of a “slight signal” *
* Levedad de una señal (Levity of a signal). Installation with found objects Ana Alenso.
Audio Field Report no. 32 / Sound activism 11: Interview with Rubén D'Hers by Knut Remond. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard there on headphone no.1).
'ohrenhoch - the Noise Shop' presents on Sunday 31 May and 7 June 2015, 2pm - 9pm:
If music be the food of love
(2015, Premiere)
by Maximilian Marcoll
Video installation
with exhibition of the score and sketches
Maximilian Marcoll on 'If music be the food of love':
In the secret prisons of Guantánamo Bay and Abu Ghraib, the U.S. forces applied music as a means of torture. The selection of songs used, which is known as the “Torture Playlist” or “GTMO-Playlist”, consists of Pop, Rock and Metal Songs which are well known, accessible and very popular in the western world.
Having been used as torture instruments, the songs are imprinted with ambivalency in three ways:?The victims do not have access to a way of hearing the songs as popsongs. For them they can only mean pain, suffering, the inability to hear their own thoughts.
For us, the popsongs are still popsongs. Our perception might be changed because of our knowledge of their use as weapons, which, then again, lies far beyond our imagination.
The torturing soldiers themselves actively changed their own relation to the songs in a very drastic way. I find it quite hard to imagine that they could later listen to the songs without also hearing the torture instruments.
One is forced to choose between two opposed ways of perception, that can never be accessed simultaneously. On the contrary, they obscure one another. While listening to them, the songs as weapons and as songs, are always present and absent at the same time, yet always in the directly invers relation.
"If music be the food of love" is a piece that makes this ambivalency audible.?The exhibition will present a video installation and contextual material, including the score and sketches.
On the ohrenhoch Sundays with the video installation "If music be the food of love" by Maximilian Marcoll, in addition a simulated version of his piece “Adhan – Tripartite Appropriation”, that should have been performed on Whitsun, but that was cancelled by the organizer/interpreter, will be accessible.
Audio Field Report no. 31 / Soundaktivismus 10: Interview with Maximilian Marcoll by Knut Remond. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard there on headphone no.1).
'ohrenhoch, the Noise Shop' presents on the theme 'sound activism'
on Sunday 24 May 2015, 2pm - 9pm:
defeat
audiodrama or psychosonic?
(2011)?
by Knut Remond
With exhibition of the score
Knut Remond on 'defeat':
The so-called compositional technique originates in a spiderweb or a conjunction of digital new media and music composition software. Working as an artist today with a laptop as a tool one is quasi immediately or simultaneously in a digital flood of news, moving in a cluster of (mass) information. I find it interesting that today as a composer or artist, with digital technique one consciously, unconsciously or automatically is in a journalistic, researching context. The question is: are we informed better, more extensively, and in a more enlightened way in this digital era?
I describe "defeat" as "doc. sound" (documentary sound).
From a mixture of rage and experiment the digital (copy and paste) piece "defeat" resulted in 2011. It was a research on the Iraq War instigated by the USA and the coalition of the willing, and on the procedure of American soldiers in Iraq with children in particular. The embargo imposed on Iraq particularly struck children. Also the napalm derivative M-77 was used.
In hindsight, different scientists in the USA investigated the behavior of the US media during the Iraq War. Sobering result: While critics of the US war practically couldn't get a word in edgewise, the US media uncritically for the most part took on the contents given by the Pentagon.
The documentary material for "defeat" are mobile phone video recordings by US soldiers educating Iraqi children with, for instance, footballs, chocolate and soft toys. I TOOK OFF THE SOUNDTRACK FROM THE PICTURES AND CUT IT UP.
ohrenhoch archive 'Potato':
'Audio Field Reports' nos.1-30 (since January 2014): Interviews with the composers by Knut Remond. Ltd. Ed. audio cassette, each 8 copies numbered. Available at 'ohrenhoch, der Geräuschladen' (and heard there on headphones).?
Booklets 2012 - 2013: Interviews with the composers and illustrations by Knut Remond, program notes, biographies, Ltd. Ed. each about 10 copies, accessible at the ohrenhoch archive 'potato'. Single booklets still available.
To hear on Sunday 10 and 17 May 2015, 2pm - 9pm:
La rosa incarnata del suono
(2014, German Premiere)
by Giuseppe Iacono
Loudspeaker installation, curator: Knut Remond
Giuseppe Iacono on 'La rosa incarnata del suono':
A purplish and sinuous resounding nebula, dreamlike and fragile, and a collection of distorsions with violent and sharp signs, an alphabet composed of silver and bronze characters, clinking coal splinters, at times a smutty, dense, fine dust.
On the backdrop are barely visible the real sound sources of these two opposing substances: a ship’s metal gate scratching the dock of a pier and the string of a violin, played with deep pressure at ten vulnerable points.
The unfolding of the reaction coming out of this heterogeneous matter and its microscopic exploration goes along with three images (ropes in tension, pulleys, bees and street scenes) without the purpose of telling a story. Rather, the pleasure induced by their mutual contact is an end in itself.
'Audio Field Report no. 30 / sound activism 9':
Interview with Giuseppe Iacono by Knut Remond, based on the questions to 'Sound Activism' by Knut Remond and Isabella Zamboni. Limited Edition Audio cassette, 8 copies numbered. Available at 'ohrenhoch - the Noise Shop' (and can be heard there on headphone no.1).
Special: Interview leaflet with further questions to Giuseppe Iacono by Knut Remond.
To hear on Sunday 26 April and 3 May 2015, 2pm - 9pm:
Island
(2015, World Premiere)
by Dean Rosenthal
Loudspeaker installation, curator: Knut Remond
Dean Rosenthal on 'Island':
What you are hearing in 'Island' is an excerpt, a study really, in preparation for a much longer piece, also named Island, the composition of which is now underway. Island explores the history and community of the island I live on, Martha’s Vineyard. In America and around the world, Martha’s Vineyard is famous for hosting presidents and celebrities in their vacation time, and also provides a spot for the well-off and wealthy of the world to hang their hat when they want to escape everyday life.
The year-round community who call Martha’s Vineyard home has an often separate existence and contains a richness that visitors rarely see and that richness and lore is the subject of Island. I interviewed a number of year-round residents, asking each the same three questions: What brought you here? Why do you stay? Do you have a story to tell? I also went around the island recording sounds from wherever I could. In the end, Island is a narrative of the island community and of island sounds that forms the lasting and unique connection that we as year-rounders experience as we live here on the island and the aural and spiritual landscape that is Martha’s Vineyard.
Relating to the question "sound activism" with which ohrenhoch deals in 2015, Dean Rosenthal writes:
Sound Activism is for me something that all sound is striving for – whether or not it is social or political, sound reaches out to others to bring us together, push us apart, pull us into solitude, or lead us to an intellectual and emotional space for us to contemplate or weep or jump for joy or reinvigorate us; things like that, both experiential and a-priori.
As a composer, when I activate music, it's almost as if I'm merely translating something that has already existed and forever will exist. My work often is driven by musical ideas that I find outside of myself. Finding these musical ideas usually appears to me without provocation and so the element of sound activism is less influential as an intellectual or aesthetic modality than the sound activism I find in my personal experience of community, but also acts of inspiration tempered by logic.
['Island' is supported in part by a grant from the Martha's Vineyard Cultural Council, a local agency which is supported by the Massachusetts Cultural Council, a state agency.?The ohrenhoch Sundays 2015 are supported by Initiative Neue Musik Berlin e.V. and Konzert des Deutschen Musikrates]
To hear on Sunday 12 and 19 April 2015, 2pm - 9pm:
Breathe Between the Lines / Atmen Zwischen Linien
for Eric Garner
(2015, Premiere)
by Christopher DeLaurenti
Loudspeaker installation, curator: Knut Remond
Christopher DeLaurenti on 'Breathe Between the Lines / Atmen Zwischen Linien':
Breathe Between the Lines / Atmen Zwischen Linien mingles testimony from those who killed, those who died, and those who have witnessed killings. Heard as a short, one act play, this drama also relies on the likely inaccurate translation from the native language of its writer, English, to the main language spoken in the country of its presentation. Among the many voices in this co-translated work, you will hear Eric Garner, who was choked to death by members of the New York Police Department on July 17, 2014, and U.S. Navy sniper Chris Kyle (1974-2013), whose book, "American Sniper," was later adapted into a film. "When you cut into the present, the future leaks out." William S. Burroughs
'Audio Field Report no.29': Interview with Christopher DeLaurenti by Knut Remond. Limited Edition Audio cassette, 8 copies numbered.
Read more: Breathe Between the Lines / Atmen Zwischen Linien
ohrenhoch präsentiert am Sonntag 29. März und 5. April 2015, 14:00 - 21:00 Uhr:
Labor in the Territory of Hawaii, 1939
Installation für einen einzelnen Gast
(2015, Uraufführung)
von Ludwig Abraham
Ludwig Abraham über 'Labor in the Territory of Hawaii, 1939':
Eine Beschäftigung mit verschiedenen akustischen Reizen, mit der Frage ob ein Klang oder die Klanglichkeit einer Umgebung eine bestimmte Reaktion hervorruft, wie diese Reaktionen manipulieren und manipuliert werden können. Aufnahmen von verlassenen Hallen und Schwimmbädern, Kellergewölben und Wohnzimmern, bewohnten und unbewohnten Räumen. Interviews und Aktionen in diesen Räumen. Montage, Rekontextualisierung, Mittel des Sound Designs.
„The word Hawaii, to the average person, conveys two ideas — a tourist paradise, and a powerful national outpost. Although these impressions are not incorrect, they are decidedly incomplete. The purpose of this ______ is to portray an aspect of these islands concerning which there are many misconceptions. It has to do with significant features of the economy of the islands; with the relations between those who live there and the basic industries, and, in particular, with statistical details regarding wages, hours, and working conditions.
“Diese Arbeit wird unterstützt durch die Georg Neumann GmbH.
Zu hören am Sonntag 15. und 2. März 2015, 14:00 - 21:00 Uhr:
Black Ice
(2014, Europäische Erstaufführung)
von Maggi Payne
Lautsprecherinstallation, Kurator: Knut Remond
Maggi Payne über 'Black Ice' [20 Min.]:
Obwohl ich Stückchen und Teile von Sounds verwendet habe, die ich unter zeitweiser Verwendung des Moog Synthesizers in meiner letzten Arbeit kreierte, hatte ich Mitte Dezember einen überwältigenden Drang in das Moog IIIP Studio am Mills College zu entfliehen, um ein paar Mussestunden mit dem Generieren von Sounds auf ein paar Sound-Laufwerke zu verbringen. Es ist für mich faszinierend, nur schon wie flexibel dieses Instrument ist.
Wie mit jedem ausgezeichneten Instrument, bleibt es grundlegend dasselbe, aber die Art und Weise wie man an das Instrument herangeht verändert sich beträchtlich im Laufe der Zeit. Seine offene Architektur erlaubte über die Jahrzehnte seit es erstmals gebaut wurde, ganz unterschiedliche ästhetische und technische Herangehensweisen an das Instrument.
Dieses Werk ist eine Erforschung von Raum und Zeit, und speziell von Tiefe und Höhe. Schichten verlagern sich häufig, wie es am Anfang aufgezeigt wird, wo Geknister so präsent ist––fast als würde es von dem/der Zuhörenden ausgehen. Die Unterlage liefert eine distanzierte Atmosphäre, fast eine Nebelwolke, die sich auf den Zuhörenden zu, durch ihn hindurch und hinter ihm bewegt, indem sie durch das Knistern hindurchgeht, dessen molekulare Struktur verändert und es zu feinem Nebel macht, als es langsam zurückweicht.
Alle Sounds wurden durch den Moog generiert. Viele sind roh; einige wurden zusätzlich ausgerichtet, um eine zusätzliche dynamische Qualität in die Arbeit zu bringen.
In Bezug zu der Frage 'Soundaktivismus', mit der sich ohrenhoch 2015 auseinandersetzt, schreibt Maggi Payne:?
"Sound aktiviert den Raum, den wir und andere Lebewesen einnehmen. Er liefert eine sich ständig ändernde Atmosphäre, die wir in unterschiedlichem Masse erleben, je nachdem wie aufmerksam wir der akustischen Umgebung gegenüber sind, in der wir leben. Sound aktiviert den Geist, die Vorstellungskraft, die Kreativität in uns, und bringt uns auf eine Weise alle zusammen in dem akustischen Raum, den wir teilen. Er bereichert unser Leben, sogar wenn wir seine Existenz offenkundig nicht bemerken."
To hear on Sunday 1 and 8 March 2015, 2pm - 9pm:
MOSCOW
(M)y Swo(O)ning (S)ends out (CO)ld (W)armth
Radioart (2005, German Premiere)
by Elisabeth Schimana
Loudspeaker installation, curator: Knut Remond
Elisabeth Schimana on 'MOSCOW':
Heartless City,
a Love Story
Two years of living in Moscow and still it seems impossible to find the right words for this city. A city of contrasts, of overlapping and colliding systems. With unrelenting harshness. The droning sound of the subway gives way to winter landscapes of freshly fallen snow and their muted acoustics. Chimes amid the constant din of the city. Birds' twittering at the bird market and in the inner courtyards. Archetypical electronic instruments like the ANS synthesizer, rhythmicon and theremin. And the russian soul.
All sound material recorded by Elisabeth Schimana, 2001 to 2005
Sound engineers: Martin Leitner and Anna Kuncio
Produced by ORF Kunstradio
Relating to the question "sound activism" with which ohrenhoch deals in 2015, Elisabeth Schimana writes:
MOSKWA renounces language and still tells a very intimate love story
MOSKWA renounces any fashionably refined sound processing, the material remains raw and dirty and in this rawness of the sounds is the living thing
MOSKWA wanders acoustically through colliding systems
MOSKWA for some triggers a recognition, a social conjointness with the sounds, and for others an astonishment, a curiosity
Hearing MOSKWA can but doesn't have to be political, since WHEN and for WHOM does a sound get political?
(Translated from German by K. Moos)
To hear on Sunday 15 and 22 February 2015, 2pm - 9pm:
outcry
for Bassbox
(2015, Premiere)
by Knut Remond
Loudspeaker installation 'Bassbox': 'ohrenhoch, der Geräuschladen' Knut Remond.
Knut Remond on 'outcry':
"outcry" is a personal piece, and at the same time it is within the context of the questions to "sound activism".
I have underlined two of the questions in the text "sound activism":
1. Fathom the agency of the acoustic.?
2. How can I influence things to action(s) without operating with language?
The piece "outcry" came into being by chance, that is: with a piano I tried out some preparations for a sound-object basis for young pupils who are in the tight corset of the western classical music traditions and the so-called pop music and trapped in it.
ohrenhoch presents on Sunday 1 and 8 February 2015, 2pm - 9pm:
Syria..as my mother speaks
(2015)
by Christine Gedeon
with sound artist Bent Bøgedal Christoffersen
Curator: Knut Remond
Loudspeaker installation: 'ohrenhoch, der Geräuschladen' Knut Remond
Christine Gedeon on 'Syria..as my mother speaks':
'Syria..as my mother speaks' is an interactive playable “string instrument”, connecting strands of wire to the architecture of the space, and when triggered, plays layered sounds and snippets of stories and conversations with Christine Gedeon’s mother (mainly in Arabic), centered around the war in Syria, her relatives there, and her mother’s memories before the war.
Working with Danish sound artist, Bent Bøgedal Christoffersen, where he layered these snippets of conversations against a backdrop of war sounds, chants, and traditional Syrian songs, this instrument plays as a harp where each string triggers different points in this sound collage.
Syria, once a country famous for its love of music has forcibly had the traditional sounds of music replaced with the violent sounds of this incessant battle. This musical instrument is used as an agent in transferring the stories and memories through sound while the collapsing of this country continues to be the soundtrack for the people.
ohrenhoch presents on Sunday 18 and 25 January 2015, 2pm - 9pm:
Meine-Welt-Musik – 2. Symphonie
(Op.148/2013, German Premiere)
by Dieter Kaufmann
Dieter Kaufmann on 'Meine-Welt-Musik' [35:00]:
A sound journey through countries and times with original recordings from France, Sweden, Iceland, Egypt, Algeria, Taiwan and Austria, music from different times and cultures (Schumann, Dufay, Codex Montpellier, muezzin calls, swedish quatrains), languages of men and animals (water birds, hen house, crows, goats), wind and water. The simultaneity of the anachronistic, the simultaneousness of the incompatible, the multiculturality through times and spaces. How modest are Schumann's Scenes from Childhood (Of Foreign Lands and People)! With one single melody the child sets forth to discover the world. Laden with the garbage of history it goes back, grown older. A musical audio play.
Relating to the question "sound activism" ohrenhoch deals with in 2015, Dieter Kaufmann writes:
"foreign – familiar"
The sounds of my world may be foreign for others.
I express this process of alienation with the familiar by means of technical "exaggerations" (detuning, accumulation, sharpening...), time after time.
My wish is to contribute through "meditative" hearing to accepting the foreign, and through critical hearing to distance from the familiar.
[Translation from German: Katharina Moos]
ohrenhoch presents on Sunday 4 and 11 January 2015, 2pm - 9pm:
Salt-Sculpting
(A Tribute to Max Eastley)
by Martyna Pozna?ska
Curator: Knut Remond
Martyna Pozna?ska on 'Salt-Sculpting':
Salt plays several different roles on the earth, in nature and in human life.
It can be a powerful destructor or a preservation aid, a savior, or a cure.
The glass tube contains the salt solution. The motor vibrates the string creating a drone. While the water evaporates throughout the days, the string gradually becomes a skeleton for the salt crystals to grow all over it.
This sound installation explores the process of transformation and change of the state of matter.
Allowing the liquid to evaporate from the salt solution, the growth of the salt crystals is enabled.?What seems to appear as dying/decaying is actually just a process of transformation into a new form. The salt elements gain their bodily presence. The particles previously convoluted individually in the solution, now intertwine strongly with each other creating a new force in the unity of the crystals.
The Salt-sculpting installation has been re-created in response to ohrenhoch-der Gerauschladen theme of the year 2015 - sound activism. The process of transformation enabled within the installation serves as a micro-scale observatory in which the visitor not only observes but also influences the process. Presence of the body in the space, every breath, movement or sound triggers a mutual exchange, contributes to the process of salt-sculpting. The change is not instantaneous or sudden it remains in the growth, it needs the right amount of time, it needs the right conditions. It is not spectacular but it emerges gradually. It leads us to the origins of the act of participation (lat. participare - to take part) and being in the world. In contrast the simultaneous solidification and fracture of personal and collective identity, and the advance of technology and bureaucracy combined with an increasing philosophical skepticism towards truth and subjectivity we experience nowadays.
The Salt - Sculpting is a combination of the fragility of sound and the strength of the crystal. It reflects upon power and vulnerability, gain and loss. It's an introduction to the poetics of change.
Special thanks to: Kris Poznanski, Jakob Motter, Dirk Zozmann, Hans Peter Kuhn, Peter Cusack, Ecki Guether and Thomas Eisl .
To hear on Sunday 14, 21 and 28 December 2014, 2pm - 9pm:
TAGE IV
Lifetime project?
by Neele Hülcker and Elisabeth R. Hager
Curator, loudspeaker installation: Knut Remond
'ohrenhoch, der Geräuschladen' has been presenting up to now three times in 2013/14 the project "TAGE", a lifetime project by Neele Hülcker and Elisabeth R. Hager.
Neele Hülcker and Elisabeth R. Hager bound themselves by contract on the 25.5.2011 to pronounce the date every day making a sound recording of this act up to their death. Over the days, months, years, the lifetime project "TAGE" leaves soundtraces of two friendly lives. TAGE is a study on the aging process of the voice and - in the most general sense - an audibilisation of lived time.
At the upcoming presentation on 14, 21 and 28 December the vocally retained TAGE (DAYS) will sound in the ohrenhoch cellar over a special loudspeaker installation.
To hear on Sunday 30 November and 7 December 2014, 2pm - 9pm:
survival of the fittest (balzgesänge im spätkapitalismus)
(2014, World Premiere)
by Matthias Kranebitter
Matthias Kranebitter on 'survival of the fittest':
'survival of the fittest' is a list of darwinistically selected songs from commercials, television shows and pop song samples. An attempt of order in the motley chaos of the world.
spitz&glitzer
Late Night Show
with Neele Hülcker and Knut Remond
Live at 'ohrenhoch, der Geräuschladen' and live stream on ohrenhoch.tv
Friday 28 November 2014, at 9pm
Very few seats. Reserve: This e-mail address is being protected from spambots. You need JavaScript enabled to view it
To hear on Sunday 16 and 23 November 2014, 2pm - 9pm:
Synkopierten
(2014, World premiere)
by Marinos Koutsomichalis
Marinos Koutsomichalis on 'Synkopierten':
'Synkopierten' is a site-specific audio piece conceived and realised for 'ohrenhoch, der Geräuschladen’ and its particular loudspeaker installation. 'Synkopierten' attempts an exploration and a re-definition of space in acoustic terms and employing syncopated noises and inharmonic spectra.
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:
Stereo recording of the sound installation
Tagaktiv (Diurnal)
(2009 - 2014)?
by the ohrenhoch-Kids
mixed for the Gruson greenhouse Magdeburg from "Nocturnal1+2" and "Superfrogs and Toad Music".?
Director: Knut Remond
Recording [14:02] 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 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
To hear on Sunday 19 and 26 October 2014, 2pm - 9pm:
Who is ruling your kingdom, dear ambrosia?
by Tamara Friebel
Tamara Friebel on 'Who is ruling your kingdom, dear ambrosia?':
future
dear past.
does it matter how much I remember of you?
To hear on Sunday 5. and 12 October 2014, 2pm - 9pm:
Sonic Skin 1.3
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.
To hear on Sunday 21 and 28 September 2014, 2pm - 9pm:
Sweet Airs
(2014, Premiere)
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.
Schiff 014
Curator: Knut Remond
Sundays 24 and 31 August
Sundays 7 and 14 September 2014
Livestream on ohrenhoch.tv
2pm - 9pm every Sunday
The Soundgallery 'ohrenhoch - the Noise Shop' presents on 2 x 2 Sundays two different sound installations with the theme Ship: "Backbord ein Kolibri" by Martin Daske and "Tentacles" by Kg Augenstern (Christiane Prehn and Wolfgang Meyer).
24 and 31 August:
"Backbord ein Kolibri" (1996)
by Martin Daske
The sound installation was made in 1996, a sound-space-installation in all cardinal directions. "Backbord ein Kolibri" is a virtual ship voyage from Paris to Namur (Belgium) compressed to 50 minutes. Martin Daske mas made recordings of inland waterway vessels and watergates. The fixed loudspeaker installation by Knut Remond in the ohrenhoch shopwindow space is like tailor-made for this "circular" sound installation: The soundscapes wander in a circle according to the cardinal direction of the voyage.In the middle of the space a model ship is floating. Out of it fragments of a (fictional?) logbook are sounding.
Martin Daske
Composition studies in the USA at Dartmouth College with Christian Wolff, in Krakow and at the Salzburg Mozarteum with Prof. Boguslaw Schaeffer. Alongside his more traditional compositions Daske developed a form of three-dimensional notation (“foliants“). In 2001 he founded the duo “Soundscrapers“ with the Berlin Philharmonic bassist Janne Saksala and in 2002, the duo “Die Klangschürfer“ (“The Sound Diggers”) with the vocal artist, Rainer Rudloff. Daske has created countless Hörspiele and other works for radio, sound installations, childrens’ Hörspiele, music for theater and film. Since 1989, together with Rainer Rubbert, he has been artistic director of the concert series "Unerhörte Musik" in Berlin. Daske has been running his own production studio since 1993: tribord studio.
7 and 14 September:
"TENTACLES"
by Kg Augenstern (Christiane Prehn and Wolfgang Meyer)
The artist group Augenstern lives and works on the ship Anuschka since years.In July 2014 the MS Anuschka left Berlin direction Paris and south of France to examine all the bridges it passes on the way, using tentacles installed on board turning the ship into a sensitive percepting and sounding laboratory.
There will be an audiovisual livestream from the ship Anuschka to the gallery space of ohrenhoch, where it is projected in an installative way, continuously from 2pm till 9pm. Quasi an adventure in which technical capsizing may certainly be expected...
Live stream from the ship on ohrenhoch.tv
KG Augenstern Christiane Prehn, Wolfgang Meyer (Berlin)
The artist group Augenstern lives and works on the ship Anuschka.
Christiane Prehn: Graduate visual artist, Akademie der Künste Stuttgart. Sculptor, film director. Numerous solo and group exhibitions and awards, in Germany and abroad.
Wolfgang Meyer: Experimental musician, sound artist, videos, film music.
Link to Kg Augenstern on facebook
"Schiff 014 als Heterotopie" - a simultaneous text by Isabella Zamboni and Knut Remond, available at 'ohrenhoch, der Geräuschladen'.
To hear on Sunday 10 and 17 August 2014, 2pm - 9pm:
"Touch"
Sound Art by Margaret Noble
Created for ohrenhoch - The Noise Shop
Margaret Noble on 'Touch':
Touch is a composition of sensory disorientation. Sonic artifacts and accidentals are juxtaposed in audio collage from the recordings of hands touching objects and structures. Fingers drag down staircases, over floors, across walls and around crystal glassware in search of unexpected moments. Moving overlooked sensory moments to the foreground, the touching of objects isn’t neutral.
To hear on Sunday 27 July and 3 August 2014, 2pm - 9pm:
Conical Sound Test 1b
(2014, Premiere)
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.
To hear on Sunday 13 and 20 July 2014, 2pm - 9pm:
"I"
(2014, Premiere)
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.
This new work forms part of Frearson’s ongoing project, ‘Frankenstein2; or, the Monster of Main Stream’ which aims to reconfigure the entirety of Shelley’s novel into a new novel and associated works.
At the Art Festival 48 Stunden Neukölln 2014 with the theme 'Courage'
the ohrenhoch-Kids present:
"Tollkühn"
"33 ?" 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 ohrenhoch Sunday:?
Sunday 6 July: 2pm - 9pm
The ohrenhoch-Kids, between 5 and 12 years old, allude to the theme "Courage" in presenting "33 ?" (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 ?" by John Cage. The visitors can participate. The duration of the piece is unlimited.
For 33 ? by John Cage 8 turntables are placed in the space and numerous diverse 33 ? 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 ?" 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.
ohrenhoch-Kids
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:
"Duet for One: Intangible culture"
(Premiere)
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.
To hear on Sunday 1 and 8 June 2014, 2pm - 9pm:
"Time Traveler"
(2005, World Premiere)?
by Valérie Delaney
Valérie Delaney on 'Time Traveler' [6 min.]:
A ghostly melody progressively interlacing itself to a mechanical rhythm.
Sunday 18 and 25 May 2014, 2pm - 9pm:
"Eine Tasse Kaffee"
"Angra Spenta: The Condition of Being Double"
Twin sound pieces
by Shohreh Jandaghian
Curator: Knut Remond
Shohreh Jandaghian on “Eine Tasse Kaffee” und “Angra Spenta: The Condition of Being Double”:
"Eine Tasse Kaffee" (A Cup of Coffee) and "Angra Spenta: The Condition of Being Double" are twin sound pieces composed in two different places and times. The idea of shaping an acoustic duality originates from the Old Persian Mythology. The confrontation of two opposing forces, that is the falsehood (Angra) and the truth (Spenta), causes the circle of existence. As long as this juxtaposition between the positive and the negative prevails the dynamics of the universe exist. Only if one of the two forces conquers the other in its entirety the world ends. That is the moment one may at last relish "a cup of coffee" in peace!
Persian Poet Omar Khayyam – 11th Century:
Good and evil, our moral prison,?
Joy and sorrow passing like season,
Fate in the way of logic and reason
Is the victim of far worse treason.
Sunday 4 and 11 May 2014,
2pm - 9pm continuously:
"I will call you with birds names"
Sound pieces, home-made bird-calls, scores, video
by Prune Bécheau
Meeting and twittering birds experiment with Prune Bécheau at 6 pm
Prune Bécheau on her presentation "I will call you with birds names":
THE GAME OF TERRITORIAL FRICTIONS:?A set of home-made bird-calls on a game table. Inspired by the lack of definition in the "frictional bird-calls" which, sold commercially, mimic birdsongs that are in fact very different: nightingales, robins, goldfinches. They sound like "birdsongs" of all we call "birds" and that we aren't able, willing or don't need to name. Territorial and boundary-setting frictions.
HUMANOID TWITTERING BIRDS GUIDE:?A set of sound pieces for voice, violin, synthesizer and bird-calls. All of which are transcriptions of birdsongs or transcriptions of transcriptions of birdsongs: onomatopoeic transcriptions, motivic, suggestive, relative or partial transcriptions. Humanoid birdsongs scientifically grouped in a chit chat & branches guide.
To hear on Sunday 20 and 27 April 2014, 2pm - 9pm:
"killAmor"
Sound construct for 11 loudspeakers distributed in 2 loudspeaker installations, accessible in buckled, deformed zones or listening spaces.
Recording technique of killAmor for the presentation at 'ohrenhoch':
The recording of killAmor was made in the ohrenhoch basement in October 2013. killAmor recorded several sessions on two days in the three basement spaces. 2 different stereo recording techniques were used and also several close microphones were placed at the speakers of guitar amplifiers, and the line signals were directly recorded. Two acoustic levels result thereby. A spatial recording reflecting strongly the sound of the ohrenhoch spaces, quasi measuring/lighting acoustically the sound of the basement at ohrenhoch, and a direct level making hearable directly and "dry" the sounds produced by killAmor. The two stereo setups have different properties: The OSS stereo recording technique is regarded as being particularly suitable for chamber music recordings. It results in a nearly graspable realistic "natural" spatial sound. The XY or Blumlein stereophony shows the sound in a spatially direct and markedly more present way, which at times creates the impression of enlarging the music as through a magnifying glass. The two stereo microphones were placed in changing positions during the recordings so that different acoustic images result.
In the editing we overlaid the two recordings in some passages, in other ones we left just one of the stereo tracks.
killAmor on the two loudspeaker installations at ohrenhoch
The two sound levels - spatial or direct recording - were finally allotted to the two loudspeaker installations in the ohrenhoch shopwindow space and cellar ("Bassbox").
The piece you hear on Sunday is a four channel feed. It projects to the original spaces what has been played within the spaces, or it transports the spatial impression of the recording into another room or another place at ohrenhoch. The visitor experiences frequent and sometimes surprising changes of perspective, projections of the music of killAmor, in and from the ohrenhoch spaces.
ohrenhoch presents on Sunday 6 and 13 April 2014, 2pm - 9pm two works by Dariusz Mazurowski:
"Non Acoustic Symphony"
Electroacoustic composition - Special version for ohrenhoch gallery
(2014, Premiere)?
On the ohrenhoch loudspeaker installation in the shopwindow space
With exhibition of the sketches, spectrograms and scores
"Two Silly Dancers"
Video and Audio Installation
(2014, Premiere)
In the ohrenhoch basement
Dariusz Mazurowski on "Non Acoustic Symphony" [45:33]:
Non Acoustic Symphony is a large scale electroacoustic composition (in the past such kind of music was described as “music for tape”), which contains seven parts – each one has own dramatic structure and profile.
Non Acoustic Symphony is a treatise on the nature and coexistence of various sounds – from pure acoustic to pure electronic. Both counterparts have been processed, so many times it's virtually impossible to recognize the source. And there are many examples of hybrid sounds, mixed from various sources, processed with analog and digital tools.
Each part has an instrument, group of instruments or sound as a main theme. Subtitles in fact have nothing in common with musical sense, but reflect some ideas, passions and sometimes obsessions of the composer. As Non Acoustic Symphony is also a kind of a musical voyage through time and space – titles in general refer to famous Voyager (1 and 2) space mission, solar system phenomenons and selected objects. Anyway, this is not artist's intention to give any simple description or association – Non Acoustic Symphony could potentially be anything You, the listener, want.
Dariusz Mazurowski über "Two Silly Dancers":
Two Silly Dancers is a special kind of a journey through virtual space and real time – journey “frozen” in a loop, or a series of loops to be precise. The general idea behind this installation is based on a television and Internet role as a virtual alternative to real life. This is why we may observe mixed scraps and samples of various images, reflecting sometimes true events or directed scenes – but all as through TV or computer screen. So they are “unrealistic” real... Everything is assembled apparently without logical order, or seems to be beyond standard understanding. Some moments could be even provocative. This may symbolize a paradox of our existence, where serious moments overlap with lighter ones, sense with nonsense etc. And finally – all happen only on a TV screen... So what is real, what makes sense, what does it mean ? Two Silly Dancers installation has not been assembled to give any answer, if there is any program idea behind it – rather to ask questions. All in all, in our real lives we always have much more questions than answers.
Mentioned above journey is also a bit questionable – since we may watch a highway through the front window of a car, we stay in a gallery space with a video projection. Time is changing, image is changing, so what in fact are we doing ? Staying or moving ? Today television and other electronic media (especially Internet) have the capacity to trick many people, so they are unable to distinguish virtual world from real one. And as that virtual counterpart seems to be more attractive than a real life (wrong, that's a big mistake !), they abandon reality in favor of illusion. This may led to a nightmare like this installation.
To hear on Sunday 23 and 30 March 2014, 2pm - 9pm:
"Kissing Hitler"
(2014, Premiere)
by Emilie Payeur
Emilie Payeur on her piece 'Kissing Hitler' [10:05, stereo]:
What sound accompanied Marilyn Monroe’s death? (Question by Knut Remond in the interview 'Audio Field Report no.5')*
Trying to answer this question was the motivation behind 'Kissing Hitler'. ?I used a lot of sound recordings from archives and the more I was listening to them, the more I understood how unhappy and hurt Marilyn Monroe was beyond appearances.
The title itself comes from a declaration she made during an interview saying that some actor once said that kissing her was like kissing Hitler.
* "Audio Field Report no. 5" – available at ohrenhoch
MC cassette, Limited Edition (8 copies), numbered:?
Interview with Emilie Payeur
Questions, sound file, mix by Knut Remond, March 2014
To hear on Sunday 9 and 16 March 2014, 2pm - 9pm:
"Like Billy Pilgrim, He Had Come Unstuck in Time"
Composition for Radio?
(German Premiere)
by Warren Burt
“If you truly wish to know nature, you must know her in her bad moods as well as her good moods.” –Henry David Thoreau
Warren Burt on "Like Billy Pilgrim, He Had Come Unstuck in Time" [Duration 18:00 min.]:
In early October, we experienced nature in one of her bad moods. A very strong windstorm struck Victoria. We were staying at Portarlington, on the Bellarine Peninsula, when the storm struck in all its fury. We were staying at a bed and breakfast, and I noticed that by placing a sound recorder near the windows, we could get very good recordings of storm sounds without any wind noise on the mics. House as windscreen, if you will. With gusts of up to 100km/h, that’s about the size of windscreen that was needed. I made two recordings, one at the front of the house, the other at the rear. These recordings form the basis of the piece. In August, I also made recordings at several locations in Malaysia – in the lobby of the G-Tower Hotel, in the Ampang Park Shopping Mall, and at the Kuala Lumpur Airport. These, combined with a 5am October recording of our back yard in Daylesford, form the material of the piece.
As well as using the raw recordings of the environmental sound, I also took 1 minute segments from each sound, and using the program Photosounder, I inverted the spectrum of each sound – literally, I turned the sound upside down – and time-stretched these to last 3 minutes. I also took the one minute segments, both original-form and upside-down, and using the program Melodyne, converted the sound to MIDI information. This MIDI information then played a variety of virtual pianos using the Pianoteq virtual piano. Each piano segment was also put into a unique microtonal scale, based on the “Mt. Meru” scale diagrams of Mexican-American music theorist Ervin Wilson.
So what we have in the piece are unaltered environmental recordings, inverted and time-stretched environmental sounds, and sequences of piano music, which are a conversion into notes of the original and inverted environmental sounds. All these sounds are placed into a form that is fairly unrelenting, and very high energy. Like Billy Pilgrim, the hero of Kurt Vonnegut’s novel “Slaughterhouse Five,” the listener is also “unstuck in time,” being hurled from one soundscape to another, sometimes recognizable, sometimes distorted beyond recognition. Various surprises happen throughout the piece, some humorous, others verging on the macabre. Time becomes surreal and fluid here, despite the fact that the piece proceeds in implacable units of 1 minute each. The storm is not only a physical one – in this mix it is a psychological one as well.
Sounds were recorded in August and October 2013 in Malaysia and Victoria. Mixing, processing and editing took place on October 19-20, 2013, and the piece was completed on October 23, 2013. It was requested by Scarlett de Maio for her program Ears Have Ears on FBi Radio, Sydney.
ohrenhoch, der Geräuschladen presents
on Sunday 2 March 2014, 2pm - 9pm:
Opening of the ohrenhoch archive
"the potato"
"the potato" is a multimedia archive for past, present and future presentations at ohrenhoch.
"the potato" ist specifically conceived for mini sound objects for sale, created by sound artists commissioned by ohrenhoch. ?At the opening the sound object "Whiskerphone" by Bryan Day will be presented exclusively.
The complete Booklets will be displayed for inspection and for sale. ?The sound interviews "Audio Field Report" by the individual artists, for sale as MC cassettes, will be hearable with headphones.
The ohrenhoch-Kids will also be represented with things.
There is also a new special loudspeaker installation: "Pencil oH", conceived for extremely fine and delicate pieces or loops.
It is a fragile archive, at the same time a wild construct with different applications which – according to the 'ohrenhoch' idea and approach – have been installed and realised subtly and exquisitly in a process for the visitors.
We look forward to presenting you an electroacoustic staging by Knut Remond of Wolfgang A. Mozart 'Die Zauberflöte - complete' especially conceived for the brand-new mini speaker installation "Pencil oH".
To hear on Sunday 16 and 23 February 2014, 2pm - 9pm:
Zwischen Hier & Jetzt
specially composed for ohrenhoch (Premiere)
by Ingvar Loco Nordin
Ingvar Loco Nordin on "Zwischen Hier & Jetzt" [135 min.]:
The extended work you hear from me at ohrenhoch is composed by me especially for ohrenhoch, but in many ways it reflects my usual way of working with sound. I carry with me a Zoom recorder, which is cheap enough to be able to bang around in all kinds of weather and situations, while still being quite good, or, should I say, well enough for my purposes. It has enabled me to catch all kinds of sounds that I then can work with in various sound soft wares in the Mac, for final destinations in complete works of sound art.
Many of the sounds heard in Zwischen Hier & Jetzt originate on my woman’s farm up in Niemisel, a small village in the far north of Sweden, in the District of Northbothnia. Other sounds in Zwischen Hier & Jetzt come from a broken, destroyed piano – a Rösler upright piano – that I and a friend found abandoned on an industrial lot for imminent transport to a garbage dump. I have listened a lot to Australian ruined piano fiend Ross Bolleter, so recording this Rösler wreck felt very natural, and absolutely necessary. It was cold and took a stubborn mind to make these recordings in the dark and several minus degrees, with a headlamp lighting the scene. Only the soundboard remained. The keys were spread out on the asphalt ground. Even though so much sound comes out of that soundboard, the sound is exactly as it was, with no electronics invested in the recording, and no cuts being done.
To hear on Sunday 2 and 9 February 2014, 2pm - 9pm
Catalogue of Noises no.1 / no.2
special piece for ohrenhoch [1:11:40]
by Zbigniew Karkowski
(* 17 March 1958 in Krakow, Poland; † 12 December 2013 in Peru)
“Die Wahrheit ist der Tod". Theodor Fontane (1819-1898)
On the occasion of the death of Zbigniew Karkowski in December 2013, 'ohrenhoch - the Noise Shop' presents his pieces or concepts "Catalogue of Noises no.1" (on 2 February) and "Catalogue of Noises no.2" (on 9 February), which he conceived for the Bassbox loudspeaker installation in ohrenhoch where they were presented for the first time in April/May, 2013.
Zbigniew Karkowski described his concept "Catalogue of Noises" for ohrenhoch as follows:
”as it's 100 years anniversary of 'the art of noises' by luigi russolo i'm preparing a special piece for ohrenhoch which will be kind of 'noise catalogue'. the piece will consist only of pure noises - like white noise, pink noise, brownian noise, fractal noise, black noise, grey noise, blue noise, violet noise, stochastic noise etc. i have some really good machines and software to generate all these kind of noises so i will create an interesting and as full as possible catalogue of it. sort of like 'catalogue d'oiseaux' of olivier messiaen but this time 'catalogue of noises' by zbigniew karkowski."
Zbigniew Karkowski
"Catalogue of Noises no.1" and "Catalogue of Noises no. 2" are now presented again, on Sunday 2 and 9 February 2014. We look forward, despite the sad loss of this extraordinary composer, to experience again "Catalogue of Noises" in this special space-sound situation with you.
For the premiere I made an interview with Zbigniew Karkowski about "Catalogue of Noises", I illustrated it, and published it as a booklet (limited edition). For the presentation in February 2014 a Special Limited Edition Booklet "Catalogue of Noises no.1/ no. 2" (5 copies) with the interview is published.
Knut Remond / ohrenhoch
ohrenhoch présente dimanche 19 et 26 Janvier 2014, 14 - 21 h:
- Berlin Answering
- Promenade
Installations sonores?
(Première allemande)
de Jonathan Rescigno
Jonathan Rescigno sur 'Berlin Answering' et 'Promenade':
Dans "Berlin Answering" et "Promenade" on entend le récit de personnes anonymes, qui échangent par le biais de messages téléphoniques interposés. Ces deux installations sonores ont été créées à partir d’anciennes bandes audio de répondeurs téléphoniques que j’ai récupérés avant leur destruction. Après avoir réalisé l’installation "Promenade" en France avec le soutient du Frac Lorraine, j’ai récolté durant plus d’un an ces mini-cassettes à Berlin pour cette nouvelle exposition.
Des messages courts, des bafouillages, des rires, des règlements de comptes, des larmes ou encore des déclarations d'amour, se succèdent dans un ordre donné.
Des morceaux de conversation, des monologues, des commentaires. Des événements heureux, malheureux ou neutres. Des formules banales, pudiques, calmes ou passionnées. Les commentaires des événements de notre époque... Le passé, le présent et l’avenir sont là, condensés et cristallisés.
A travers mon travail, je questionne les concepts de Mémoire et de trace, et j’étudie leur processus de désagrégation. Pour ce projet, je suis parti à la recherche des traces sonores laissées par les habitants au sein des villes. J’ai récolté ces traces sur les seuls supports qui en laissaient la possibilité : ces répondeurs téléphoniques analogiques à cassettes audio. Ici, j’ai utilisé ces bandes analogiques comme une matière sonore en mouvement car elles sont sensibles au passage du temps. Les voix enregistrées pendant plusieurs années présentent toutes des imperfections audio que j’utilise comme autant de signes sonores métaphoriques de l’usure du temps sur le monde.
To hear on Sunday 5 and 12 January 2014, 2pm - 9pm:
HearAfter
(2013, German Premiere)
by Nichola Scrutton
Nichola Scrutton on 'HearAfter':?
HearAfter is a contemplative and immersive pre-composed vocal sound installation inspired by the life cycle, memory, and the process of decay.
HearAfter is a pun on ‘hereafter’, which means ‘in the time to follow’ and is often associated with questions about experiences after death. With this in mind, the piece HearAfter, through the present moment of a listening experience, at one level might be heard to tap into memory – a sense of something past, gone, altered or retold, but at the same time could suggest a kind of anticipation of a future that is both factually certain yet remains unknown.
While the human voice is often considered primarily as a communicator of words, I am artistically interested in its potential as sonorous, expressive and sculptural material. The sounds of breathing and an array of vocal gestures weave together with other abstract sounds into a collage of overlapping cycles and collisions.
HearAfter was originally conceived through an invite by Final Fling to create a work for a proposed Day of the Dead festival in Glasgow. Final Fling is an online portal for end-of-life planning, and promotes a pragmatic, open, and creative approach to talking about, and taking control of, our life and death decisions. Subsequently, The Gallery of Modern Art, Glasgow, supported the work and HearAfter was installed in the round room on balcony 2 in October 2013, with the initial one-week run being extended to six weeks following the preview.
ohrenhoch presents Saturday night to Sunday 22 December 2013, from 2am to 9am, and from 2pm to 9pm:
TAGE III
Lifetime project?
by Neele Hülcker and Elisabeth R. Hager
Curator: Knut Remond
'ohrenhoch, der Geräuschladen' already presented twice in 2013 a special project: "TAGE", a lifetime project by Neele Hülcker and Elisabeth R. Hager.
Neele Hülcker and Elisabeth R. Hager bound themselves by contract on the 25.5.2011 to pronounce the date every day making a sound recording of this act up to their death. Over the days, months, years, the lifetime project "TAGE" is growing to a sound picture of two friendly lives, a study on the aging process of the voice and - in the most general sense - to the audibilisation of time.
Since summer 2013 when Neele Hülcker & Elisabeth R. Hager got themselves tattooed in the skin the date of the signing of the contract the project is expanded moreover by the dimension of the body.
Elisabeth R. Hager who currently lives in New Zealand - thus half a day in the future - will be present during the presentation by skype. LIVE on ohrenhoch.tv
Taking in account this time difference 'ohrenhoch, der Geräuschladen' will change the opening hours:
- "TAGE" will be heard on Sunday 22 December from 2am to 9am & from 2pm to 9pm.?
- On 29 December the presentation will be heard according to German time: from 2pm to 9pm.
The vocally retained TAGE (DAYS) up to now will sound over a special loudspeaker installation.
ohrenhoch presents on 8 and 15 December 2013 by Judy Dunaway:
MANUAL EARDRUMS
Interactive sound installation
2pm - 9pm in the cellar
THE GLOBE
Live audio streamed sound piece (World premiere)
6pm - 9pm in the shopwindow space
Judy Dunaway on 'Manual Eardrums' (2003):
Manual Eardrums is about feeling sound with your hands instead of hearing it with your ears. In this piece, the balloon functions as a transmitter for sound to your hands. The balloon allows you to "hear" things with your hands that you might not normally notice with your ears. Visitors to Manual Eardrums are given an inflated balloon, foam earplugs and a page with instructions before entering the space. Once entering they may explore the constant sound waves in the room, which shift almost imperceptibly, creating an ever-changing vibrational landscape.
According to Newton's second law of motion, F = MA, to move an object requires a force; the heavier the object is, the larger the force required. In order for air to push an object, that object must be light. Thus the balloon, which is lightweight, can be pushed easily by sound vibrations. This is the same concept employed by the human eardrum. Thus carrying a balloon could be compared to carrying a large eardrum.
Judy Dunaway on 'The Globe':
'The Globe' ist eine live gestreamte elektronische Improvisation, die Audiodaten-Komprimierungs-Artefakte [Defekte] manipuliert und auf sie aufmerksam macht. Das Stück wird Live-Performances von verschiedenen Orten auf der ganzen Welt einbeziehen, die via Telephon nach Boston, Massachusetts, U.S.A. (zu J. Dunaway) zugeschaltet werden und in den oberen Galerieraum im 'ohrenhoch' gesendet werden. Dunaway wird sowohl elektronischen Sound in den Mix einkoppeln, als auch das Live-Aufbereiten von ausgewählten PerformerInnen machen.
Live sound contributors located on each continent:
Sam Ashley (Vienna, Austria, Europe) - Performing his piece "In the Land of the Headhunters"
Jill Burton (Florida, North America)
Awomadah Fig (Caulfield South, Australia)
Hala Gabr (Cairo, Egypt, Africa)
Mohamed Gouda (Al Qalyoubia, Egypt, Africa)
Cole Ingraham (Shanghai, China, Asia)
Heather Dea Jennings (Natal, Brazil, South America)
Choi Joonyong (Seoul, South Korea, Asia)
Kyoko Kitamura (New York City, North America)
Julie Katch (McMurdo Station, Antarctica)
Ilja Komarov (Zurich, Switzerland, Europe)
Anna Liebzeit (Phillip Island, Australia)
Andrea Pensado (Salem, Massachusetts, North America)
Video accompanying "The Globe" sound installation created by Judy Dunaway and Antony Flackett.
To hear on the Sundays 17 and 24 November, and 1 December 2013, 2pm - 9pm
Echoic Memory
Sound installation
(2013, German Premiere)
by Martyna Pozna?ska
Martyna Pozna?ska on 'Echoic Memory':
Our mind is not capable of exactly remembering and recalling sounds; it could even be argued that we do not possess sound memory. Our echoic memory is a component of sensory memory (SM), and it is responsible for retaining auditory information. The sensory memory for sounds that people have just perceived is the form of echoic memory. Unlike visual memory, in which our eyes can scan the stimuli over and over, the auditory stimuli is by its nature ephemeral. According to echoic memory, auditory stimuli are received by the ear one at a time before they can be processed and understood.
For instance, listening to the radio difers from reading a magazine in a temporal way. A person can only hear the radio once at a given time, while the magazine can be read over and over again. A sound is unprocessed (or held back) until the following sound is heard, and only then can it be made meaningful. Tis particular sensory store is capable of storing large amounts of auditory information that is only retained for a short period of time (3–4 seconds). Tis echoic sound resonates in the mind (like an internalised echo within our brains) and is replayed for this brief amount of time shortly after the presentation of auditory stimuli.[source: wikipedia]
The sound installation 'Echoic Memory' is an attempt to work with memory and capability/incapability of recalling sounds.Usually when we think of memory we refere to visual memory. Through a sound, video and light installation, I want the audience to experience the imperfection of our memory in its sonic aspects, and become aware of correlations and disconnects between our senses. I want to show the 'superiority of the sonic memory in its absence' (superiore in absentia) and in its subtleness, the sonic aspect of the reality is so complex that we – human's are not equiped well enough to store it. We can imprison sound through recording it, storing it, and listening to it, but we are not able to perform the same action without an external tool. In this installation I am collaging a series of family ephemera collected 1984-2012 which is notable for featuring because they manifest the relativity and subjectivity of the time and life embraced within one's memory. These are in different media, often with a low-technology source material. The installation runs in a loop, with a set time-based structure, to allow compositional elements to draw a direct parallel between memory and our phenomenological perception. It looks at the relationship we have between other people and time, and how sound, record making and memory combine.
For the Festival NACHTUNDNEBEL 2013 the ohrenhoch-Kids from 8 to 11 years old present "ACTIVE FOG", a video installation composed of various short video clips.
"ACTIVE FOG" 2013
a space video installation of the special kind
by the ohrenhoch-Kids: Chiara, Elias, Tarek und Yuri
(Fixed Media, loop video duration 25:07 min.)
Direction: Knut Remond
Saturday 2 November 2013, 6pm - 11pm
(at the Neukoelln festival NachtundNebel)
and on the ohrenhoch Sundays
3 and 10 November 2013, 2pm - 9pm
on 10 November also live on ohrenhoch.tv
ACTIVE FOG is made from individual video clips by the ohrenhoch-Kids, composed to a mixture of sounds, images and colors.
The complexity of the creativeness:
The individual video clips were made with an iPad. The individual video creations were made from August to October 2013. The device was used as a camera, microphone, for the videomix or VJ, and for sound compositions. The ohrenhoch-Kids didn't just use their own video or sound recordings, but they also exchanged the video material between each other and processed it. Thus a quasi individual but also collective composition was developed. ?In the single video clips you also see some part of the electronic instruments they work with, on an analogue basis as e.b. mixing desk, analogue synthesizer, turntable, sampler, small amplifiers and microphone.
Mass media
It is exciting that there is a basic need to explore the different media such as video and sounds, with diverse contents and aesthetic and technical possibilities, e.g. in real time, and to experiment with a vision of an individual and co-determined process. The focussing or enlightenment that we are not an other-directed creature being eaten up with relish by the electronic media, the mass machine growing and brought to perfection at a tearing pace.
Hearing means seeing, seeing means hearing.
'ohrenhoch - the Noise Shop' is a sound gallery, a platform for the acoustic and the electro-acoustic music, respectively, and for sound installations. From the conviction that hearing has a direct correlation with seeing, and vice versa, at ohrenhoch processes are activated for a more complex dealing with our senses.
Computer, tablets, smartphone etc.
It is also very important that - with our every day machine, the computer, affecting us in all situations in life and setting many things through industry - the children take a sense and finally an understanding that the computer is not only a stupid table and marketing machine, but that we can handle this thing in a creative, witty and interesting way, and that we can subvert also the mass product, its logics and unhuman ends.
Spendenkübel für die Fortführung von Projekten und die nötige Infrastruktur für die ohrenhoch-Kids
Die Schule bzw. das Laboratorium für elektroakustische Musik und Klanginstallation für Kinder und Jugendliche ist ein unabhängiges und auf Freiwilligkeit basierendes Projekt, bei dem jedes Kind zwischen 5 und 14 Jahren mitmachen kann: Die Gruppe 'ohrenhoch-Kids Youngsters' sind die 5- bis 7-jährigen, die 'ohrenhoch-Kids' 7- bis 14-jährig. Beide Gruppen treffen sich ein- bis zweimal in der Woche im ohrenhoch.
Spenden für die Präsentation "Active Fog" werden für die Durchführung von weiteren ohrenhoch-Kids-Projekten eingesetzt. Die ohrenhoch-Kids und das ohrenhoch-Team bedanken sich im Voraus für Ihre Unterstützung :-)
ohrenhoch-Kids bei NACHTUNDNEBEL seit 2008
Die Klanginstallationen seit 2008 der ohrenhoch-Kids bei NACHTUNDNEBEL sind: "NACHTTROPFENDRACHE" Geräuschbox-Klanginstallation, 2008 (1. Preis Musik+Medien des junge-ohren-preises); "ohrenhoch ist NACHTAKTIV", Raum-Klang-Installation, 2009; "SAMMELSURIUM" (Tönende Stadtkarte 'Soundmap Neukölln 2010', und ein Video aus verschiedenen Clips, das die Geräuschforschungen der ohrenhoch-Kids und -Youngsters zeigt), 2010; "ohrenhoch ist NACHTAKTIV No.2" Raum-Klang-Installation, 2011; "Superfrösche und Kröten Music" Raum-Klang-Installation, 2012.
Knut Remond
Künstlerischer Leiter und Kurator 'ohrenhoch, der Geräuschladen'
Förderer der ohrenhoch-Sonntage: Initiative Neue Musik Berlin e.V. und Konzert des Deutschen Musikrates
Sponsoren der ohrenhoch-Kids: Musikhaus Thomann, serve-u Technical Support, ROLAND, ZOOM, Electro-Harmonix, Dave Smith Instruments
Festival NACHTUNDNEBEL: Schillerpalais e.V.
'ohrenhoch, der Geräuschladen' presents ?on Sunday 20 and 27 October 2013, ?2pm - 9pm
on the fixed ohrenhoch loudspeaker installation "Bassbox":
Ich und …?
a tape piece (2008)
Idea, text, voice: Narges Hashempour
Tape composition, mix: Knut Remond
Starting from Maulana's mystic parable "The Elephant in the Dark" a change of perspective is made now. The mystic Maulana (1207-1273 n. Chr.) speaks up for humility in demanding religious truth, and thus speaks up for religious tolerance. Maulana's elephant parable is about the search for truth and knowledge of God. In the dark, several participants touch and examine the unknown beast, each one believing to be able to identify the beast. Depending on which part of the elephant's body they touched, they consider the part as the whole.?The tape piece "Ich und ...?" proceeds with this parable. This time it is a woman who, identifying with the elephant, struggles against a power of knowledge which makes out of her just an object of male self-assertion. She tells her story of how she was taken captive.?
Narges Hashempour
For the tape piece "Ich und ...?" I recorded the voice of Narges Hashempour with the text. The text with the voice of Narges Hashempour is in German, and I consciously taped and composed the recording rawly, unvarnishedly and directly. "Ich und …?" was presented at the opening of the exhibition 'Transcultural Paranoia' at Gallery Artneuland in Berlin in 2008, and from a closed box in fact.?The noises and sounds from "Ich und …?" are a mixture or modulated with electroacoustic and synthetic pixels. My idea and approach was that the sounds experience haziness and brittleness, and that the voice together with the sounds with the words is quasi tattooed, forever burnt into the skin.?
Knut Remond 2013
To hear on Sunday 6 and 13 October 2013, 2pm - 9pm:
Disobedient Colors
(Premiere)
by Bryan Day
With presentation of the score
Bryan Day on his piece 'Disobedient Colors':?
This piece was recorded using instruments of my own design and arranged to a score based on a series of photographs of suburban shopping centers.
'ohrenhoch - the Noise Shop' invites you to cooperate on a composition by Neele Hülcker
on Sunday 29 September 2013, 2pm - 9pm:
(Live on ohrenhoch.tv)
Mitarbeit
by and with Neele Hülcker
For her composition in the making "Mitarbeit" [Engl.: cooperation] for 6 performers (trumpet, clarinet, cello, keyboard, monotron, black-death-synthesizer, contact microphone, radio board) and feed, Neele Hülcker undertook actions in different public places. In front of a stand with instruments she asked people who were passing by to create sounds on them, which she recorded. She will use the recordings as sound material for the feed in "Mitarbeit".
Previous stations for the actions were: shopping center and pedestrian zone in Witten, underground station Neukölln, and Kottbusser Tor.
The closing station will take place on Sunday 29 September 2013 from 2pm till 9pm at 'ohrenhoch, the Noise Shop': The visitors are invited to play on various electronic instruments, some of which are self-built by Neele Hülcker.
"Mitarbeit" will be premiered by the "MAM. Manufaktur für aktuelle Musik" within the festival "Klangwerkstatt" at Kunstquartier Bethanien (Kreuzberg), 10 November 2013 at 7pm.
ohrenhoch presents on Sunday
15 and 22 September 2013, 2pm - 9pm:
At the Edge of Wilderness (2000)
A Soundscape-Photo Installation about Ghost Towns in British Columbia
Composer: Hildegard Westerkamp
Photographer: Florence Debeugny
When resource industry moves into British Columbia’s landscapes, industrial sites and company towns are cut into the wilderness. The edge between wilderness and such a new place is traditionally knife sharp like the edge between life and a stabbing death. Poison is released into the environment by the violent penetration of industry. Once resources are drained the company moves away leaving its huge, filthy footprints behind, leaving open gaps in mountains and relying on natural processes to absorb the junk heaps, tailings, the waste. Natural rhythms and movements eventually soften the edges, transforming an abandoned industrial site into mysterious rusty shapes and collapsed wooden structures overgrown by moss, weeds, shrubs, and trees. A once noisy, bustling place becomes a quiet ghosttown full of memories. An old industry becomes artifact and lies there like a toothless monster of the past.
Through images and sounds gathered in various ghost towns of the Canadian province British Columbia during Spring and Summer of 2000, At the Edge of Wilderness explores the moment of encounter between the contemporary visitor and the abandoned industrial sites: a strange moment of excitement and magic, discovery and adventure; a moment of questions and stories about human industrial activities of the past and present; a moment of sensing the spirits and ghosts still hovering among the skeletal remains while nature is gradually reclaiming its place. It is as if visitor and place are taking a deep breath together during this encounter, convalescing from injury, contemplating the edge where junk and artefact, destruction and new growth, noise and quiet meet; where perceptions of a shameful past in need of clean–up collide with feelings of pride towards a heritage worth preserving.
About the Sounds
Initially, when we first arrived at the ghost town sites, the many rusty objects and structures were lying around silently, telling us stories of their working life, of their function. But as we moved through the sites, stepping on and through them, “playing” on them, hitting them with various objects, listening, they produced the most fascinating resonances. Whether the sounds came from on an old steam engine or an out–of–tune piano with broken strings, they became the musical instruments for At the Edge of Wilderness, Exploring their acoustic/musical properties in their dilapidated state, brought them to life in surprising ways. In some cases, depending on how they were “played”, they created sounds and rhythms not unlike that of old machinery from the turn of the 19th to the 20th century. They are the sounds that carry us from the presence of the existing ghost towns into the imagined past of these places, and they delineate the particular edge that has been created between nature and this form of civilization all over the North American continent. Turning the industrial structures into musical instruments may be a way of exorcising the damage that has been done and is still being done in many cases on this continent and all over the world - a way to make peace or find a balance between the destructive and the creative forces that tend to work side by side in adventurous explorations.
The majority of the sounds for the piece—the natural sounds, soundmaking on the rusty structures, sounds of cars and trains, or of our footsteps and spoken voices— were recorded on the ghost town sites themselves. The recordings of steam trains and of old machinery such as the “Buffalo Iron Worker” come from the environmental sound archives of the World Soundscape Project at Simon Fraser University. HW
Photographer's Comments
When I visited some of BC ghost towns and abandoned mines it seemed as if people had left these places in a hurry like they would when a natural catastrophe, such as a volcano eruption, occurs. These relics portray despair and desolation revealing the core of human beings and the experiences they went through. They transport us to the centre, to the essential matter in life: survival, which demands acceptance and humility.
I look for signs and traces of our past and history. I imagine that people full of hope and ambition tried very hard to find fulfilment of their dreams here. Or they simply wanted to make a living. When it did not work, because of price decreases in ore (such as copper, silver, zinc or gold) or because of fires and floods, or simply because the railway did not make it to these secluded places, they left to try their chance somewhere else.
I like deterioration, abandonment, and destruction. It gives an impression of despair, distress, disillusion, and sadness. People left behind them the structures they had built and the materials they had brought in. Apparently, they had no concern about it all lying around like garbage after their departure, no concern that it would take years for these traces to disappear. The wooden constructions disintegrate relatively quickly back to nature, but not the many metal objects and cement constructions. Vegetation may grow around them and cover them from our sight, but they will continue to lie there for years unabsorbed by nature. And paradoxically, we like it: these ruins provoke our imagination and appeal to our sense of aesthetics. We still want to visit these abandoned sites.
I am very attracted to the chaotic arrangement of these distorted shapes, and the combination of colours, textures, forms and materials. When I look at them, I feel the need to transfer onto photographic film the detailed images that my inner eye perceives. Each time, I walk through these abandoned sites, it feels as if I wander through an untouched museum without organization. FD
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Sponsors of the presentation 'At the Edge of Wilderness' at 'ohrenhoch':
serve-u TECHNICAL SUPPORT, Hacksound Veranstaltungstechnik
To hear on Sunday 1 and 8 September 2013, 2pm - 9pm:
Blood Transfusion
by Sharkiface
Curator: Knut Remond
Sharkiface on her piece 'Blood Transfusion':
'Blood Transfusion' is a synth piece gleaned from the head space following the near fatal bike accident of San Francisco's Jay Korber, drummer of Burmese, Ettrick, Orhima and Nuclear Deathwish (and Sharkiface's boyfriend) who suffered massive hemorrhaging and underwent a blood transfusion involving 5x the bodies worth of blood due to a badly broken pelvis. Sounds from this piece were made on virtual synths in the ICU by Korber and Sharkiface and cut up, layered and composed by Sharkiface in the days following. Some live versions of the piece involve samples of Korber drumming along with the pulmonary system in action. Other versions are more simple cut up synthesizer compositions.
To hear on Sunday 18 and 25 August 2013, 2pm - 9pm:
ghost operations
for amplified objects, modular synthesizer and Bassbox speaker installation
(Premiere)
by Eliad Wagner and Johannes Bergmark
Curator: Knut Remond
Additionally on Sunday 25 August, 6:30 pm: live performance "handbag electronics" Eliad Wagner and Johannes Bergmark
Eliad Wagner and Johannes Bergmark on their piece 'ghost operations':
ghost operations is an instant composition derived in ohrenhoch and arranged for this specific space and the sounds system "Bassbox" within.Since improvised music is much about the space and situation it takes place in (and quite hard to detach from) we decided that the best way to exhibit sounds in ohrenhoch Geräuschladen would be to create and capture them at the space, using the "Bassbox" speaker system installation and the different room acoustics. In that way, since our improvised actions take much from the environment we are in, the space shapes the musical outcome in a similar way to a score. The music was born here and never left. It is heard here in exactly the same way we heard it when it was composed. You are subjected to it just as we are.
To hear on Sunday 4 and 11 August 2013, 2pm - 9pm:
Heitsi-Eibib-Rec
(2012, World Premiere)
by Francisco López
Francisco López on 'Heitsi-Eibib-Rec' [17:25]:
Original environmental sound matter recorded worldwide between 2003 and2007.
Created at mobile messor (Den Haag), May 2012.
(c) francisco lópez 2012
Publikation ohrenhoch Booklet:
'ohrenhoch, the Noise Shop' produces a special booklet to the presentation "Heitsi-Eibib-Rec", with an interview by Knut Remond with Francisco López. Limited edition (10 copies), handmade.
ohrenhoch presents on Sunday 21 and 28 July 2013, 2pm - 9pm:
Perturbations (précipitations)
de Prune Bécheau
Curateur: Knut Remond
Prune Bécheau au sujet de 'Perturbations (précipitations)':?
Perturbations (précipitations) est une mise à disposition d'objets sonnants à la pluie, une mise en résonance des gouttières trouées, petites fuites échappant à la gestion des canalisations d'eau.Sont présentées une pièce audio et une pièce vidéo, toutes deux réalisées à partir d'une installation/performance dans l'espace public.
ohrenhoch Booklet:
'ohrenhoch, der Geräuschladen' publie un booklet pour la présentation "Perturbations (précipitations)" avec une interview de Knut Remond avec Prune Bécheau.
To hear on Sunday 7 and 14 July 2013, 2pm - 9pm:
TAGE
8.6.2011 - 7.7.2013
(2011-?)
Lifetime project
by Neele Hülcker and Elisabeth R. Hager
Curator: Knut Remond
'ohrenhoch, der Geräuschladen' presented a particular project or undertaking at the beginning of the year 2013 (ohrenhoch 5th anniversary year): "TAGE" (DAYS), a lifetime project by Neele Hülcker and Elisabeth R. Hager.
Neele Hülcker and Elisabeth R. Hager bound themselves by contract on the 25.5.2011 to pronounce the date every day making a sound recording of this act up to their death.
The first presentation "TAGE" 8.6.2011 – 5.1.2013 took place at the ohrenhoch Sundays 6 and 13 January 2013. The spoken dates, from 2011 till the date of the presentation, were presented on a special loudspeaker installation.
As the date proclamations are naturally growing from year to year, from month to month, ohrenhoch will present the project "TAGE" by Neele Hülcker and Elisabeth R. Hager in the course of the year 2013, in July and December.
ohrenhoch proudly presents the second edition of "TAGE" 8.6.2011 – 7.7.2013, on the Sundays 7 and 14 July 2013 from 2pm to 9pm.
"TAGE will be presented by Neele Hülcker und Elisabeth R. Hager on an unusual installation!
Welcome to your Lebenszeitraum!
Thoughts to the project TAGE by Neele Hülcker & Elisabeth R. Hager
by Elisabeth R. Hager
Since a little more than two years I record the date on each day of my life.For that I start up my recording device, press the record button & speak the numbers & and month names, which give the current day its very particular form. Every single day of my life I cut about five seconds from the cake of the time I have left, which still seems to be so endlessly big, in order to execute this act. Then for a short while my future is not unwritten, for then I enter the Lebenszeitraum.
Recording the date is probably the most abstract form to keep a diary, for this diary is being filled with empty frames. Every day anew a small space is added, which can be entered by anybody being alive & around just now. The so spanned space belongs to you as it belongs to me. & I don't speak of it alone. There is a counterpart (Neele) assuring me of this space & which I am the mirror of. And yet we aren't relevant as humans & the specifics of our voices are but a variety of billions. Even if much is secretable about it: We don't play a more vital role than you.
As soon as you enter this gallery we get in contact. Welcome to your Lebenszeitraum! You may of course avoid yourself here, too. Instead of searching for yourself you may also search for the character of these voices! So do search for the emotions behind the bare figures if necessary! So weave yourself into the lives being rung off here, if you want! But don't forget yourself thereby! For after all, this is here & now! For after all, this is your life!
[Translation: Katharina Moos]
ohrenhoch Booklet:
'ohrenhoch - the Noise Shop' produces a special booklet also for the presentation of "TAGE", with an interview or talk by Knut Remond with Neele Hülcker and Elisabeth R. Hager about the "TAGE" concept.
The ohrenhoch-Kids and -Youngsters celebrate their 5 year jubilee.
They present at the 15th Kunstfestival 48 Stunden Neukölln (Festival subject 'Change of perspective')?and on the two following ohrenhoch Sundays 23 and 30 June 2013:
"ohrenhochland in the children's room"
The past and the future are conglomerated anew.
The visitors are shown round "ohrenhochland in the children's room" by the ohrenhoch-Kids, hiking through a spirited and witty visual and audio labyrinth of ideas.
'ohrenhochland in the children's room' is a set of the sound compositions, sound installations and sound objects created by the ohrenhoch-Kids and -Youngsters since 2008. Many of the original sound objects have been created anew miniaturised on free scales...
Additionally, the video creations by the ohrenhoch-Kids on the subject 'change of perspective' are presented on a luxuriant screen.?The video consisting of different short video creations is made by the ohrenhoch-Kids also as an advertising for ohrenhoch so to say, maybe for future ohrenhoch-Kids who want to participate.
In "ohrenhochland in the children's room" the ohrenhoch-Kids experiment with the most diverse perspective levels: big, dense, loud, quiet, quality of life, imagination, change, present and future. A choreographic perception and an adventure is featured by the ohrenhoch-Kids, where each visitor amplifies the event and is an important part for the presentation.
"We must use our art so that it changes our lives."?John Cage
"ohrenhochland im Kinderzimmer" ist speziell eine hörende choreographische Klanginstallation geworden für 48 Stunden Neukölln, von unterschiedlichen (Mini-)Klangobjekten und Hörstücken, die die ohrenhoch-Kids mit einer elektronischen Brotbox steuern können. Die BesucherInnen tippeln bzw gleiten sozusagen individuell mit den ohrenhoch-Kids durch das zarte Klangdickicht. Es wird für sie und die ohrenhoch-Kids ein Abenteuer und zwar durch ein Wirrwarr von Klangkreationen bzw Kompositionen, die sich kreuz und quer im ohrenhochland im Kinderzimmer auftürmen werden.
Dazu gehören noch die Geräuschlampen von den ohrenhoch-Kids Youngsters.
In the small room, the "U7" sound-space-installation (from the ohrenhoch-Kids 2010) is shown, with a 'Berliner Fenster' playing the video "Sammelsurium" by Knut Remond and the ohrenhoch-Kids 2010.
To hear on Sunday 9 June 2013, 2pm - 9pm:
Listen + Art = Revolution
by Knut Remond
Speaking or performing presentations by Knut Remond are at 3 pm, 5 pm and 7 pm.?
In between you hear "I speak from the fruit blender", an acoustic mix of quotations from Eric Satie to Allan Kaprow.
It is an experiment on this ohrenhoch Sunday, to give a theoretical insight in the backgrounds of 'ohrenhoch - the Noise Shop', for example what inspirations have been important, for the foundation on the one hand, and for the current and intense process on the other hand, which was set in motion during the last 5 years.
As another focus of this event I also introduce the project by the ohrenhoch-Kids "ohrenhoch land in the children's room" (which will take place at the festival '48 Stunden Neukoelln' 14 till 16 June, 2013) from my perspective. It is fascinating in this project that the ohrenhoch-Kids thematize the 5 year jubilee of ohrenhoch, relating it at the same time with the festival topic "Change of perspective".
"ohrenhoch land in the children's room"
The ohrenhoch-Kids and -Youngsters celebrate their 5 year jubilee presenting a perspective profile."ohrenhoch land in the children's room" is a set from their sound installations created by themselves since 2008, exploring the perspectives at various levels: big, dense, loud, quiet, quality of life, imagination, change, present, future.The past and the future are conglomerated anew.The Youngsters will expand the installation with their current invention.The visitors are shown round "ohrenhochland in the children's room" by the ohrenhoch-Kids, hiking through a spirited and witty labyrinth of ideas.?
Art director: Knut Remond
You are cordially welcome and you are free also to get involved during my explanations.
Entrance free.
Knut Remond, June 2013
To hear on Sunday 26 May and 2 June 2013, 2pm - 9pm:
Playscapes
Take A: Beethoven in the hills
von Bernadette Johnson
Bernadette Johnson on 'Beethoven am Berg':
Playscapes consist of short fragments from an audio loop (total duration 39 min), which are played into the room in aleatoric order.?
The idea concerns sound perception, or how to convert a hearing experience into concrete sound.When the playback is stopped, what happens in the resulting silence??
In „Beethoven in the hills" fragments of Beethoven's Pastoral Symphony become mixed with varying audio dimensions and integrated into an imaginary landscape.?
An open association space is created, where moods somewhere between idyllic and mysterious appear, and then fade back away into "black noise" (non-colored silence).
To hear on Sunday 12 and 19 May 2013, 2pm - 9pm:
"Stockholm Serenity"
special ohrenhoch mix
(Premiere?
by Herman Müntzing
with exhibition of the graphic scores
Curator: Knut Remond
Herman Müntzing on 'Stockholm Serenity - special ohrenhoch mix':
In spring 2009, living a life as a musician right in the middle of a hectic and busy modern life, I found myself drawn to something different. Something that almost stands still, something liberated from the ideas about musical expression, form and structure, which I felt existed all around me. I was a part of it, always wanting to explore new techniques and sounds, often in a state of high energy, where good technique and a way of playing where you really manifest yourself as a skilled musician, was desirable. Slowly I went in to a new path. A path leading to simplicity, non-expression, stillness and serenity. I was interested in finding the limit for how little I can play, how slow, how non-virtuosic, but still be able to perceive it as - not necessary art, but… meaningful. Following this path also led me into experience the sounds I was producing as graphic symbols; small unpretentious figures that in some way inspired me to keep on travelling on the path of serenity. Doing these drawing, these “graphic scores” inspired my playing, and my playing inspired me to do more drawings.
For this piece, I have reduced my instrumentation to just the flexichord, a metal stick, an e-bow, and my hands, fingers and nails. The piece was released as a mini CD. For Ohrenhoch, however, I have made a special mix of the same piece.
Herman Müntzing Baskemölla January 2013
To hear on Sunday 28 April and 5 May 2013, 2pm - 9pm:
Catalogue of Noises no.2
special piece for ohrenhoch
by Zbigniew Karkowski
Curator: Knut Remond
'ohrenhoch - the Noise Shop' presents another piece "Catalogue of Noises" (no.2) by Zbigniew Karkowski. 'ohrenhoch' thus dedicates two more ohrenhoch Sundays to the 100 YEARS ANNIVERSARY of the musical manifesto "L'arte dei rumori" (1913-2013) by Luigi Russolo.?
As it also coincides with ohrenhoch's 5th anniversary, Zbigniew Karkowski designs another part of his 'Noise Catalogue', for ohrenhoch specially.
The piece is heard over the Bassbox loudspeaker installation in the ohrenhoch basement.
To hear on Sunday 14 and 21 April 2013, 2pm - 9pm:
Catalogue of Noises
special piece for ohrenhoch
by Zbigniew Karkowski
Zbigniew Karkowski on 'Catalogue of Noises' [1:11:40]:
my concept is....
as it's 100 years anniversary of 'the art of noises' by luigi russolo i'm preparing a special piece for ohrenhoch which will be kind of 'noise catalogue'.
the piece will consist only of pure noises - like white noise, pink noise, brownian noise, fractal noise, black noise, grey noise, blue noise, violet noise, stochastic noise etc. i have some really good machines and software to generate all these kind of noises so will create interesting and as full as possible catalogue of it.
sort of like 'catalogue d'oiseaux' of olivier messiaen but this time 'catalogue of noises' by zbigniew karkowski.
To the presentation of 'Catalogue of Noises', 'ohrenhoch, the Noise Shop' publishes an illustrated booklet, with an interview by Knut Remond with Zbigniew Karkowski, description of the piece, biography. English/German. Limited edition (10 copies), handmade.
ohrenhoch presents:
"Die unsichtbare Elsa"
Audio piece by the ohrenhoch-Kids Youngsters of 5 to 7 years of age
Cooperation and direction: Knut Remond
Saturday, 23 March 2013, 5pm - 9pm
at the festival Frühlingserwachen
and on the ohrenhoch Sundays
24 and 31 March, 2pm - 9pm
"Die unsichtbare Elsa" is an audio piece with sounds from the Berlin-Schönefeld Airport, and with the voices of the ohrenhoch-Kids Youngsters.
The ohrenhoch-Kids Youngsters went to the Berlin-Schönefeld Airport, with audio recorders and headphones. There they took their individual positions for the audio recordings with the digital recorders (ZOOM H2).
Their idea was to make recordings of people and crowds of people in the hall of the airport - and of the diverse languages and ways of expression specifically.
After that the ohrenhoch-Kids Youngsters recorded the starting and takeoff of the aircrafts at the observation deck .
In a further process, with their voices and together with the recordings at the airport, the ohrenhoch-Kids Youngsters completed their witty and great audio piece "Die unsichtbare Elsa".
The composition "Die unsichtbare Elsa" on the one hand is divided in the sequences of the individual ohrenhoch-Kids Youngsters, but on the other hand it is a whole composition. The audio piece is played back in loop mode on the fixed loudspeaker installation.
To hear on Sunday 17 March and 7 April 2013, 2pm - 9pm:
Menemsha Village
Dedicated to Ori Epstein
(German Premiere)??
by Dean Rosenthal
Dean Rosenthal on 'Menemsha Village':
The sonic environment of the buoy's bell arrives to us as the meditation bell in the temple does for all monks, the bell that rings between classes for schoolchildren, and the bell that signals each beginning and finality of each round of the boxer's fight.
I first heard the sound of the buoy's bell on the water off the beach of the small village of Menemsha as an irregular rhythm and discrete sound event but soon realized that the sounds of the sonic environment surrounding the clear and beautiful ringing of the buoy's bell was essential to my experience of hearing the music in the buoy's bell.
In arranging this music, I found myself asking what it was that drew me to the harmonies of voices talking and the water lapping up on the shore, punctuated and punctured aperiodically by a single tone, repeating, over and over again, hypnotically. I watched the water heave the buoy back and forth, and with each toss, the music changed.
I thought long and hard about composing little variations on this music, modulating individual sounds, and taking on other ordinary technical tasks of conventional sound design and composition, but in the end this music simply wanted to be heard unvarnished, as vulnerable and direct as the water and the wind that played it.
Perhaps we compose our environment by hearing in a certain way, and in this way, each listener will hear the music differently than another. Is the object what you hear or the sound? Do you hear a memory, or an image, or a reflection of expectation or disappointment?
I added several repetitions of the original recording (made using the iTalk application for the iPhone) for emphasis and spent time in Audacity cleaning things up, but in all cases no other modifications to the music have been made.
Dean Rosenthal?
Martha's Vineyard
Booklet:
'ohrenhoch – the Noise Shop' publishes a special booklet also for the presentation of 'Menemsha Village' with an interview by Knut Remond with Dean Rosenthal. Limited edition (10 copies), handmade.
To hear on Sunday 3 and 10 March 2013, 2pm - 9pm:
Inevitable
(Premiere)?
by Shahrokh Yadegari
Shahrokh Yadegari on 'Inevitable' [14:17]:?
It is a re-rendition of an excerpt of a composition for an Installation by Ann Hamilton at the Pulitzer Foundation for the Arts.
The piece is about contact, the crisis of contact, and what happens at the moment of the contact.?
Sound is an extension of the body and it is a medium that not only touches the body but it is ableto go deep into our soul. An honest sound will stop time and will render the space timeless, limitless.?
The medium and the content, the product and the process, and the work and the people eventuallybecome one. The human voice is a stylus. This piece was to add to Stylus by Ann Hamilton, who had created the playground for Elizabeth Zharoff (Vocals) and I (Lila) to play.?
Lila is my computer music instrument which I have developed in the past 12 years.
To hear on Sunday 17 and 24 February 2013, 2pm - 9pm:
Electromechanical Music for Bassbox
(World premiere)?
by Headboggle
A Loop Piece for BASSBOX at ohrenhoch - der Geräuschladen
Derek Gedalecia: Modular Synthesizer, Electronics, Keyboard, Piano, field recordings, and mixdown
with
David Gedalecia: Dobro, Banjo
Final Mix Jan 29, 2013 at Hyde St Efficiency.
Recorded at various locations in California and Ohio
To hear on Sunday 3 and 10 February 2013, 2pm - 9pm
over the BassBox loudspeaker installation in the ohrenhoch basement:
ΜΑΓΜΑ
(Premiere)
by Thanos Chrysakis
Thanos Chrysakis on 'ΜΑΓΜΑ' [30:38]:
'Magma' is a half-hour long electroacoustic piece, composed between June 2010—July 2011. Myriads of colliding sounds coalesce and interact in an abstract sonic dramaturgy of magmatic textures that transfigure the boundaries between experimental electronics, electro-acoustic, ambient, glitch, and microsound.
To hear on Sunday 20 and 27 January 2013, 2pm - 9pm:
Fyr (Lighthouse)
Version for ohrenhoch
(German Premiere)
by Kent Gustafsson
Kent Gustafsson on 'Lighthouse' [60 min.]:
Lighthouse, a soundscape
"Lighthouse" is based on a novel by the swedish writer Magnus Dahlström. This book describes the world in terms of sound. The first thing that struck me when reading was; what a great material for a soundscape. So I contacted the author and got his approval for making an artistic interpretation of his book.
The basic storyline is about a building of a lighthouse on a remote and lonely island. This island is exposed to the grimness of nature in a very rough manner. Strange things happens unclear exactly what. The engineer who has planned the project and constructed the lighthouse gradually loses controll over the situation. His powerlessness and frustration affects the gang of workmen and his maid who runs his household during the residency on the island.
My intention is to dramatize his mental condition and the negligent and ruthless coldheartedness he shows when he without success tries to recapture the control. This I plan to achieve by a soundscape. The piece will be built by authentic sounds. Partly with sounds that I have collected earlier in my soundbank but I also attend to do new fieldrecordings to find exatly the right sounds. These sounds will be subedited and processed further. This ends up in that the viewer, listener is being invited into the inner thoughts of the main character and gets an insight of his unstable mind. Without any possibilities whatsoever to shield oneself. The surround sound will embrace and intrude the viewer. Dahlströms text is constantly alluding to soundexperiences. Both to actual sounds and those who emerges in his almost obsessional brain. For me, as an soundartist, this novel is irresistable as a starting-point and source of inspiration."
'ohrenhoch - the Noise Shop' produces a special booklet also for the presentation of "Lighthouse", with an interview by Knut Remond with Kent Gustafsson.
The ohrenhoch special booklets are produced for every presentation also in the year 2013, and are available at 'ohrenhoch - the Noise Shop' only. Also, the "archive" copies of past presentations since february 2012 are available at ohrenhoch. The booklets are handmade, and printed on premium recycling paper with a velvety surface, they are produced in limited editions (10 copies), plus one single "luxury exemplar" on silver paper.
The interviews with the artists and the illustrations by Knut Remond aren't either published in the internet or available electronically.
Prices of the booklets:
Limited Edition (10 copies), per copy: 2 Euro
Single Luxury exemplar: 10 Euro
To hear on Sunday 6 and 13 January 2013, 2pm - 9pm:
TAGE
(2011-?)
Lifetime project
by Neele Hülcker and Elisabeth R. Hager
Curator: Knut Remond
'ohrenhoch - the Noise Shop' presents a particular project or undertaking at the beginning of the new year (ohrenhoch 5th anniversary year), namely "TAGE" ("DAYS"), a lifetime project by Neele Hülcker and Elisabeth R. Hager.
Neele Hülcker and Elisabeth R. Hager bound themselves by contract to pronounce the date every day making a sound recording of this act up to their death.
The spoken dates, from 2011 till the date of the presentation, will be presented on the special ohrenhoch loudspeaker installation, on the two Sundays 6 and 13 January 2013.
As the date proclamations are naturally growing from year to year, from month to month, ohrenhoch will present the project "TAGE" by Neele Hülcker and Elisabeth R. Hager in the course of the year 2013, in June and December.
"... we were interested in different aspects. On the one hand the existentialist aspect: with this project we directly engage with our life, and with our whole life. Project time and life time become one, the idea becomes part of our life, every day anew. We start out from the very personal and intimate, from our own voice, and point to something basic, concerning every person in this world: namely the expiring of life time, and physical decline. Art and life melt into each other by necessity: The artistically set constraint of recording the date will form the rest of our life - and at the same time our everyday life is an aspect of the recordings: states can be heard from the sound of our voices, background noises are heard, one will hear how our voices change in the course of time." (Neele Hülcker und Elisabeth R. Hager)
SOUNDROOM design
by Knut Remond
Sunday 30 December 2012, 2pm - 9pm
LIVE broadcast on ohrenhoch.tv
On the last Sunday of the year, December 30th 2012, Knut Remond will present a soundroom on the new loudspeaker installation BASSBOX.
The ohrenhoch Special Tea is free on this Sunday!
To hear on Sunday 16 and 23 December 2012, 2 - 9pm:
Letra Menuda (Small Print) # 2
(2012, Uraufführung)
von Ricardo Arias
Ricardo Arias on "Letra Menuda (Small Print) # 2":
In Colombian radio stations most advertisements end with a sped-up voice uniteligibly detailing the conditions and restrictions that apply to what the publicity just promised —the equivalent to the small print found in legal contracts. The piece takes a number of these recordings and develops a series of short variations on them, focusing on their phonetic/sonic qualities. The piece is playful and hopefully also somewhat interesting and entertaining.
Special Booklet limited edition, handmade, available at ohrenhoch: Interview with Ricardo Arias, biography, description of the work 'Letra Menuda (Small Print) # 2'. In English and German. Making, illustration, interview: Knut Remond.
Sunday 2 and 9 December 2012, 2 - 9pm:
anécdotas de barcos fluctuantes
(2012, Premiere)
Video and radio play (even cinema for the ear)by Ulrich Ludat
Moving pictures, lively sounds and a poem meet.
Ulrich Ludat on 'anécdotas de barcos fluctuantes' [12'46'']:
A hot Sunday afternoon in Tigre (Argentina). Tirelessly shovels and roars a dredger, spends rubble on two—thereby fluctuating—ships, boats incessantly rush past, dogs are aimlessly wandering around... a bizarre scene, acoustically as visually, in which parallel worlds meet. - Later moving images and sounds, in particular sounds, encounter a poem of the Chilean Paulina Contreras. - Is it possible, with the soundscape and the memories of the images in mind (so to speak, such as with closed eyes), to interact with the poem adequately? - Anecdotes of fluctuating ships...
The video was taken during a residence at the Proyecto ace in Buenos Aires (proyectoace.org). The artistic work was made possible by the support of Monika A. Haberer, Brigitte Ludat, Valérie Quilez and the Saarland-Sporttoto GmbH (Saarland-Sports-Toto Ltd.).
Special Booklet limited edition, handmade, available ohrenhoch: Interview with Ulrich Ludat (in German), biography, description of the work 'anécdotas de barcos fluctuantes'. Making, illustration, interview: Knut Remond.
To hear on Sunday 18 and 25 November 2012, 2pm - 9pm:
A Piece of Pi
(November 2012, world premiere)
by Pamela Z
Pamela Z on 'A Piece of Pi' [4'06'']:
A Piece of Pi (A Piece of ?) is a sonic study of the first 200 digits of Pi. The work consists of a recitation of the famous constant using sampled voice fragments. Each digit is represented by a spoken word, a sung or hummed tone, or some other voiced interpretation of the numeric value. Pitches were determined by the corresponding degrees of a diatonic scale. Decisions concerning rhythmic placement, language, layering, and processing were made by applying various chance operations all derived from iterations of the number. The piece was composed, recorded, and constructed by Pamela Z in November 2012, and she performed all the voices.
Special Booklet, limited edition, handmade, available at ohrenhoch: Interview with Pamela Z, biography, description of the work 'A Piece of Pi'. In English and German.Making, illustration, interview: Knut Remond.
ohrenhoch-Kids present
on Saturday 3 November 2012, 5pm - 11pm
at the festival NachtundNebel,
and at the ohrenhoch Sundays ?
4 and 11 November, 2pm - 9pm:
Superfrogs and Toad Music
An enchanting magic space-sound-installation by the ohrenhoch-Kids at 'ohrenhoch, the Noise Shop'
in cooperation with Museum für Naturkunde Berlin
Real and invented frogs and toad calls, as an extraordinary sound event by the ohrenhoch-Kids.
In the basement at ohrenhoch, there are mp3 players with small active boxes arranged in the niches, so the visitors move into a magic audio universe - the new sound-space installation by the ohrenhoch-Kids.
Discovering and inventing nature - thereby new Utopias arise
Like all of their projects, it is an invention and realization by the ohrenhoch-Kids themselves, in cooperation with the Museum für Naturkunde Berlin.
Superfrogs and Toad Music is a mixture of sounds or calls of real, living frogs and toads, and invented sound creations.
The variety of amphibian calls
The ohrenhoch-Kids could listen to the real frogs and toads at the 'animal sound archive' at the Museum für Naturkunde Berlin, and made a choice to take with them for their project. At the animal sound archive they discovered a choice of frogs and toads from different continents, among them also from Europe.
The self-invented sound creatures by the ohrenhoch-Kids
The invented frogs and toads were recorded on the computer directly from different sound materials, and further processed. Sketches were drawn as a brainstorming, but there was born also a variety of lively frogs and toads through sound experiments. The invented frogs and toads have names, as Spiegelfrosch, Döner Frosch, Neuköllnikröte, blubb-it Kröte. These are electro-acoustic mini-compositions by the ohrenhoch-Kids, with which they made mixtures in different sequences with so-called real toads and frogs. These mini-compositions combined with real frogs or toads from the animal sound archive - as European toad, clawed frog, midwife toad, moor frog - are played back by mp3 players in loop mode, placed in diverse niches in the basement, as a space-sound installation for the visitors by the ohrenhoch-Kids.
Art director: Knut Remond
The ohrenhoch School for Sound Art and Mixed Media for children from 7 to 14 years is free for everybody. Still younger kids may participate as ohrenhoch-Kids Youngsters.
'ohrenhoch, der Geräuschladen' präsentiert an den Sonntagen 7., 14., 21. und 28. Oktober 2012, 14 - 21 Uhr
in Kooperation mit KinderKulturMonat:
Bienen und Wundertüte
Bienen: "Condo Living 2" Field Recordings von Sarah Peebles, Zusammenstellung und Mix von Knut Remond
Wundertüte: Eine Auswahl aus den Klanginstallationen der ohrenhoch-Kids seit 2008
Speziell für den KinderKulturMonat wird an jedem der 4 ohrenhoch-Sonntage im Oktober 2012 von 14 bis 21 Uhr eine Klanginstallation aus den Arbeiten der ohrenhoch-Kids 2008-2012 präsentiert. Parallel läuft - wie jeden Sonntag im ohrenhoch - eine Fixed-Media Präsentation von einem/einer internationalen KangkünstlerIn.
ohrenhoch wird speziell mit diesen Präsentationen in Kooperation mit KinderKulturMonat auf seine eigene Weise den BesucherInnen aufzeigen und hörbar machen, was die Philosophie und der Kern von ohrenhoch ist.
BIENEN...
Für den KinderKulturMonat wird Sarah Peeble's "Condo Living 2" präsentiert - eine Soundarbeit über und mit einzeln lebende(n) Bienen. Die Bienen benützen verschiedene Arten von Materialien, um ihre Nester zu bauen. Je nach Spezies bevorzugen sie Blätterstücke, gekaute Blätter, Harz, Lehm, Kieselsteine und/oder Gras. "Condo Living 2" sind Hörausschnitte bzw. Fragmente aus den tunnelartigen Wohnungen der Bienen, ausgewählt für ohrenhoch von Sarah Peebles. Die Zusammenstellung und die Mixtur sind von Knut Remond.
Sarah Peebles ist eine amerikanische, in Toronto/Kanada lebende Komponistin und Installationskünstlerin. Sie beschäftigt sich u.a. mit Bienen und Wespen. Wir hören die Feldaufnahmen von Sarah Peebles auf dem neuen Soundsystem (BASSBOX) von ohrenhoch.
"Condo Living2" ist eine faszinierende und bezaubernde Klangwelt, ein Mikrokosmos, der sozusagen mit der akustischen Lupe die Lebenswelt und den Alltag der Bienen auf eindrücklichste Weise hörbar macht. Die Bienen-Aufnahmen von Sarah Peebles wurden mit einem Schwingungssensor (als Mikrophon) gemacht, den man auch für die Beobachtung von Käferaktivitäten in Bäumen benützt.
Mit "Condo Living2" wird eine Hörwelt offeriert, die Erwachsene und Kinder gleichermassen verzaubert. Es zeigt damit ausserdem, wie ohrenhoch lebt, und dokumentiert exemplarisch die heterogene Bandbreite von Tonbandkompositionen bis zu Klanginstallationen, die ohrenhoch für die BesucherInnen auswählt. Klein und Gross werden neugierig auf das Zuhören im ohrenhoch!
...UND WUNDERTÜTE!
Für den KinderKulturMonat präsentiert ohrenhoch eine Auswahl von Klanginstallationen der ohrenhoch-Kids von 2008 bis 2012.
Den kleinen und grossen BesucherInnen wird die Auswahl nicht verraten bzw. angesagt, sondern es soll für die Interessierten eine Überraschung werden: jeden Sonntag eine andere Klanginstallation aus der Wundertüte der ohrenhoch-Kids – voller Klänge, die die ohrenhoch-Kids zu wundervollen Erlebnissen verarbeitet haben!
An den vier Oktober-Sonntagen wurden "NACHTTROPFENDRACHE" (2008), "NACHTAKTIV/NACHTAKTIV no.2" (2008/2011), "SoundCake" (2011), "U7" (2010) und "Baby Fun" (2012) vorgestellt.
To hear on Sunday 23 and 30 September 2012, 2pm - 9pm:
untitled 0808
(2008, World Premiere)?
by Francisco López
ohrenhoch presents on Sunday 23 and 30 September 2012 the new loudspeaker installation "BassBox" in the ohrenhoch basement (Prussian vaulted ceiling).
BassBox will be inaugurated with the piece by Francisco López "untitled 0808" created specially for ohrenhoch.
The new loudspeaker installation is a construction conceived especially for acousmatic tape pieces with strong basses.
BassBox at the same time is also a loudspeaker conception which involves and expands the rooms or spatial sound in most multifaceted ways.
BassBox quasi is the center with the bass - and from this box the other rooms can be played on acoustically with additional loudspeakers collaterally.
The classic ceiling loudspeaker installation in the shop space will be maintained as a matter of course. So from 23 September 2012 there will be two sound systems at ohrenhoch.
The idea of BassBox was realized by Knut Remond, and the technical development and the transport case were made by Georg and Jonas Morawietz.
ohrenhoch with Katharina Moos and Knut Remond is pleased to offer you another highlight in the Sound Gallery with BassBox. The choice of the pieces or compositions for ohrenhoch will be even wider and most multifaceted.
To hear on Sunday 9 and 16 September 2012, 2pm - 9pm:
Different Shades of Blue
(2007, German Premiere)
by Valérie Delaney
Valérie Delaney on 'Different Shades of Blue' [10 min.]:
Some spaces, movements and images,
which the colour blue inspires me.
A wavering gleam, dancing on a crystal.
Emergent stars of a twilight sky.
The thundering sea, strong and calm,
In its unfathomable vastness.
To hear on Sunday 26 August and 2 September 2012, 2pm - 9pm:
Luci und Neele
(2011) Hörspiel
von Neele Hülcker
Neele Hülcker on 'Luci und Neele':?
In my composition „Luci und Neele“ I mainly use recordings that I made as a child with my cassette recorder: When I was 9 years old my friend Luci and I started to imitate hit- and popsongs, folk music and commercials that we saw on tv and recorded these re-enactments. We had pleasure to exaggerate the artificiality of those musical consumer-products and created a mirror of the tv- and adult-world of that time which is conserved until now.?After a while I recorded more and more everyday-life sounds, it became normal that my cassette recorder was always with me, at school, at home, when I was playing with friends...
Now I'm trying to use this material that has some interesting musical, sociological and psychological aspects to me, in different ways in different pieces.
Special Booklet, limited edition, available at ohrenhoch: Interview (in German) with Neele Hülcker, biography, description of the work 'Luci und Neele'.?Making, illustration, interview: Knut Remond.
ohrenhoch presents
on Sunday 12 and 19 August 2012, 2pm - 9pm:
Sanctuaire
new version made for ohrenhoch
(2011-2012, Premiere)
by Pascale Trudel
The video piece 'Sanctuaire' is presented in the ohrenhoch basement, and the uncoupled soundtrack (sound piece) in the ohrenhoch shopwindow space over the fixed loudspeaker installation.
Pascale Trudel on 'Sanctuaire' [18 min.]:
Sanctuaire is a piece about recorded memory. All the material used comes from my family or my own recordings.
The super8 movies were made by various members of my family from the 1930's to the 1950's in various cities of the province of Quebec in Canada, but also in Florida and the east coast of the United States. The Super8 camera was bought by my great-grandfather. Featured in the movies are my grand-parents wedding and my mother growing up.
The cassette tapes recordings of family and friends date from the 1960's to the 1980's.All other recordings i made myself starting in the 1990's.?There is a strangeness to seeing older family members when they were young on film. It is like time travel to a place that feels like home but is also a completely foreign world. I see this piece as collaborative work between me and my family stretching over 80 years in which we all experimented with the technology that was available to us to capture a moment of life.
The first performance of this piece was a live electroacoustic improvisation while projecting the movies. I have made a new fixed version of the piece for ohrenhoch.
Special Booklet, limited edition, available at ohrenhoch: ?Interview with Pascale Trudel, biography, description of the work 'Sanctuaire'. In English and German.?Making, illustration, interview: Knut Remond.
and
ohrenhoch presents two pieces by Stephanie Loveless:
'Some Day (stereo)' Premiere over the ohrenhoch loudspeaker installation, and in the basement in loop mode the video and sound piece 'Torch Song'
Sunday 29 July and 5 August 2012, 2 pm - 9 pm
Some Day (stereo)
special mix for ohrenhoch
(2009-2012, Premiere)
presented over the fixed ohrenhoch loudspeaker installation
Stephanie Loveless on 'Some Day (stereo)' [10 min.]:
'For Romantic Fantasy' is a sound installation made up of eight speakers embedded in large, handmade, black paper cones, emitting a chorus of female voices. A stereo mix of this work, 'Some Day (stereo)', has been produced for presentation at Ohrenhoch Sound Gallery.
The voices are my attempts to vocally replicate an increasingly time-stretched recording of the 1937 Walt Disney song “Some Day My Prince Will Come” (as sampled from a Hallmark audio greeting card). In an eight-channel presentation, one speaker plays my vocal replication, the next plays an attempt to replicate my own replication, and so on, creating a cascade of non-digital delays through seven generations of attempts and false starts. In the stereo version, the different attempts are audible, although not spatialized.
Throughout the piece, the voices and their song became abstracted – melodically, texturally and semantically – to the point of disintegration, before resolving into a choral movement which has less to do with the original sound source than with the creation of a new musical space.
Torch Song
(2008)
Videoloop in the ohrenhoch basement
Stephanie Loveless on 'Torch Song' [6 min.]:
'Torch Song' is a video and sound piece that explores unresolved desire through hand-processed Super-8 film, dictaphone recordings, and an all-vocal cover of a Venezuelan pop song of love and revenge.
ohrenhoch produced anew the Special Booklet, limited edition:
Interview with Stephanie Loveless, biography, description of the works. In English and German.
Making, illustration, interview: Knut Remond.
To hear on Sunday 15 and 22 July 2012, 2 pm - 9 pm:
Rabble Rousers
(2012, German premiere
by Sarah Boothroyd
With exhibition of the Sketch 'Rabble Rousers' by Sarah Boothroyd created for the presentation at 'ohrenhoch'; added by Knut Remond.
Sarah Boothroyd on 'Rabble Rousers' [28 min.]:
“Protest, evasion, merry distrust, and a delight in mockery are symptoms of health; everything unconditional belongs in pathology.”
- Friedrich Nietzsche
A crowd of dissenters claps, chants, cheers, and shouts into the open air. Their chance choral creations are at once jubilant and angry, orderly and chaotic, rhythmic and random, melodious and cacophonous. Touching on ethics, justice, democracy, and global citizenship, Rabble Rousers explores the notion of protest as a spontaneous installation of improvised 'music' in public space.
Supported by the Ontario Arts Council, Rabble Rousers features field recordings of protests from around the globe – including many culled from the Occupy Movement – as well as Creative Commons contributions from Random Coil, Pleq, Papercutz, Carlos Lemosh, Marcus Fischer, Upsteria, Erstlaub, Aurastore, Aos Crowley (Matt Dean), Pocka (Brad Mitchell), Matthias Kispert, and the Prelinger Archives.
Special Booklet limited edition, available at 'ohrenhoch':
Interview with Sarah Boothroyd, biography, description of the work 'Rabble Rousers', Artist Statement, in English and German.
Illustration, Interview: Knut Remond.
The ohrenhoch-Kids present at 14th Kunst- und Kulturfestival 48 Stunden Neukölln 2012 with the theme 'Terminus Paradise':
Plusatirus, Marsusalirus, Saturnalirus & Jupiterlirus
a Sound Story Installation
by the ohrenhoch-Kids
Artistic director: Knut Remond
Friday 15 June, 7 pm till 10 pm
Saturday 16 June, 2 pm till 10 pm
Sunday 17 June, 2 pm till 7 pm
and at the ohrenhoch Sundays
24 June, 1 and 8 July 2012, 2 pm till 9 pm
A walk-in installation with 4 everyday devices is playing four different Sound Stories - namely you hear the spectacular adventures of Plusatirus, Marsusalirus, Saturnalirus & Jupiterlirus. They sound from a portable radio, a vacuum cleaner, a television set, and a toaster.
For curious reasons, the four tiny creatures Plusatirus, Marsusalirus, Saturnalirus & Jupiterlirus fall from their homeplanets down on planet earth.
Plusatirus lands in the Bavarian Alps on an Alpine salamander.
Marsusalirus plops into the Landwehrkanal in Neukoelln.
Saturnalirus falls into a Pizzeria in Turku (Finland) named Fc Kebab.
Jupiterlirus plunges down on a cross-walk on Sonnenallee in Neukoelln.
The story of the four heroes is told not in words as usually, but in sounds and noises - in an installation with four everyday devices, at 'ohrenhoch, the Noise Shop'.
The project is an electroacoustic Sound Story, arranged and composed with studio recordings and ‘real‘ (field) recordings. The four creatures and their environment were composed with this mixture, with sounds and noises. The four tiny creatures in four different regions at the same time set off for an adventurous experimental expedition.
The ohrenhoch-Kids have created 4 booklets of the 4 creatures including the CD with the Sound Story. It's a limited, beautiful edition, available at ohrenhoch.
Supported and sponsored by: Kulturamt Neukölln, Musikhaus Thomann, Modulor, ZOOM, Dave Smith Instruments. The 'ohrenhoch Sundays' are supported by Initiative Neue Musik Berlin e.V. and Konzert des Deutschen Musikrates.
Special thanks to Georg Morawietz and Martin Schied for the technical work.
ohrenhoch - the Noise Shop
is a space for the presentation of international Sonic Art, and an Audio School for children from 5 to 12 years old.
In the Sound Gallery, every Sunday over the particular sound-architectural loudspeaker installation, a fixed media work is presented. A special focus is thereby on the perception of a single work, removing beginning or end of the piece.
In the Audio School, the ohrenhoch-Kids learn to express their own ideas in noises and sounds, on fixed media or installatively. The ohrenhoch-Kids theirselves record the sounds, cut and mix them. The pedagogical basis is to meet the children at equal eye level and as fully-fledged members of the society.
For the ohrenhoch Shop, sound artists create smallSound Objects which fit in a handbag 9 x 9 x 9 cm. Among these there are single objects and limited edtitions.
ohrenhoch presents in cooperation with Leleland Ukulelenshop
on Sunday 3 and 10 June 2012, 2 pm - 9 pm
at ohrenhoch, and via live stream on ohrenhoch.tv
minigit ohrenhoch-Version (2012, Premiere)
Spatial Sound Installation/-composition
by Andreas Trobollowitsch
minigit is a spatial Sound Installation originally for four acoustic guitars hanging on a wall. Adepted for the exhibition in ohrenhoch the installation will be conceived and realized for guitaleles. As shown in the following graphic each guitalele has just three strings:
I - - I - I - I I - I - I - I - - I - I -I I -
Based on a whole tone scale which leads from A to a´ each guitalele will be tuned individually. Four converted ventilators which use cello-bow hair instead of propellers set the strings into oscillation. Due to a different speed of each ventilator the patterns will change permanently. Soundscapes arise through the soft, smooth picking of the guitar strings by the circling cellobow hair, the permanently modifying overtone layers are reminiscent of an electronically generated sound aesthetic.
The installation minigit was created with the support of BMUKK Austria (Bundesministerium für Unterricht, Kunst und Kultur).
ohrenhoch presents on all Sundays in May 2012 works by Dariusz Mazurowski:
Sunday 20 and 27 May 2012, 2 pm - 9 pm:
ohrenhoch Videocompilation
(2012, Premiere)
With exhibition of sketches, images, scores
The video (sound and image) is shown in the basement, and at the same time in the shopwindow space over the loudspeaker installation you hear the uncoupled soundtrack (i.e. without image).
ohrenhoch Videocompilation [15'46''] contains five animated videos created by Dariusz Mazurowski for his own music. Two pieces are taken from Pseudaria suite (Distant Twinkle and Strings to Nowhere), another pair from Divertimento (extracts titled part 5 and part 6). Ohr/Ohrenhoch is a special video track created for ohrenhoch der Geräuschladen gallery, with original music.
Available at 'ohrenhoch':
– Video-DVD ohr/ohrenhoch
– CD "Pseudaria/Divertimento"
– Special Booklet by Knut Remond for the presentation of the works by Dariusz Mazurowski at 'ohrenhoch': In-depth description of the works, biography, sketches, pictures, score. In German and English, richly illustrated. Limited Edition.
ohrenhoch presents on all Sundays in May 2012 works by Dariusz Mazurowski:
Sunday 6 and 13 Mai 2012, 2 pm - 9 pm:
Pseudaria
Special version for ohrenhoch
(electronic music, 2011, Premiere)
– with exhibition of score, sketches and pictures– at the same time in the basement: presentation of the Video 'ohr/ohrenhoch' by D.M. (2012, Premiere)
The video work 'Ohr/Ohrenhoch' is available on DVD at ohrenhoch exclusively.
Dariusz Mazurowski on 'Pseudaria' [30'59'']:
Pseudaria (Fallacies) is attributed to Euclid – the great Greek mathematician. It is almost a legendary, mysterious work, lost and rather unknown – today we have only a handful of lines. The author described different types of fallacies : examples of faulty reasoning, delusions leading to false conclusions, or optical illusions. And electronic music is somehow an art of illusion, persuasion of the mind that something is happening – which in fact cannot take place, and often is simply physically impossible. So we hear unknown, artificial sounds – in addition located in imaginary spaces. Seems that something comes from distant locations, yet the speakers are at our fingertips.
Pseudaria is a suite, which contains twelve rather loosely associated etudes. The choice of this form is not accidental, since the work refers to the beginnings of electronic music. Also a specific journey through time and a review of different techniques commonly used in electronic music. From transformations of a homogeneous acoustic material, through the use of analog synthesizers, a finally – advanced digital processing. This version (mix) has been created exclusively for ohrenhoch der Geräuschladen gallery, and contains new version o final part (with German text instead of original English).
Special Booklet by Knut Remond for the presentation of the works by Dariusz Mazurowski at 'ohrenhoch':
In-depth description of the works, biography, sketches, pictures, score. In German and English, richly illustrated. Limited Edition, available at ohrenhoch.
ohrenhoch präsentiert am
Sonntag 22. und 29. April 2012, 14 - 21 Uhr
Wunderkammer
elektroakustische Musik, 2010 (DEA)
von Alistair MacDonald
Sound-Ausstellung in Zusammenarbeit mit dem Museum für Naturkunde Berlin
Alistair MacDonald über 'Wunderkammer' [11:30]:
Zwischen 1854 und 1862 reiste der Britische Forscher Alfred Russel Wallace quer durch den Malayischen Archipel (heute Malaysia und Indonesien), studierte die Natur und sammelte "Exemplare der Naturkunde".
"Als ich im Frühjahr 1862 England erreichte, fand ich mich wieder in einem Raum voll von Packkisten, die die Sammlungen beinhalteten, die ich von Zeit zu Zeit nach Hause geschickt hatte für meinen privaten Gebrauch. Sie umfassten fast dreitausend Vogelbälge von etwa tausend Arten, mindestens zwanzigtausend Käfer und Schmetterlinge von etwa tausend Arten, und daneben ein paar Vierbeiner und Schneckenhäuser. Einen riesigen Teil davon hatte ich während Jahren nicht gesehen, und in meinem damals geschwächten Gesundheitszustand beanspruchte das Auspacken, Sortieren und Aufstellen einer solchen Masse von Exemplaren eine lange Zeit...
Ich stelle fest, dass meine östlichen Sammlungen sich beziffern auf:
310 Exemplare von Säugetieren.
100 Exemplare von Reptilien.
8050 Exemplare von Vögeln.
7500 Exemplare von Muscheln.
13100 Exemplare von Faltern.
83,200 Exemplare von Coleoptera.?
13,400 Exemplare von anderen Insekten.?
125,660 Exemplare von Naturkunde gesamt."?
(aus The Malay Peninsula, Alfred Russel Wallace, 1869)
Hundertfünfzig Jahre später besuchte ich einen Teil des Dschungels, den Wallace erforscht hatte, und machte meine eigene (eher kleinere) Sammlung aus Sounds. Ich stelle mir die gläsernen Sammelfläschchen vor, die Wallace für Insekten benutzte, und die Fische, "alle gut konserviert in klarem Alkohol in hunderten von Glasgefässen". Und die Wunderkammern oder 'Kuriositätenkabinette' von vorangehenden Jahrhunderten - sagenhafte Sammlungen von Objekten und Artefakten, versammelt, geordnet und ausgestellt, um Neugierde und Staunen beim Betrachter anzuregen.
Spezial-Broschüre von Knut Remond zur Sound-Ausstellung "Wunderkammer":
Interview mit Alistair MacDonald, Biografie und Beschreibung des Werkes.
Deutsch und Englisch, reich illustriert. Limitierte Auflage, Spezial-Edition / 2 €.
ohrenhoch presents on
Sunday 18 March 2012, 2pm - 9pm
Sunday 8 and 15 April 2012, 2pm - 9pm
Speaker Flowers
Sound Objects
by Yan Jun
Yan Jun on 'Speaker Flowers':
Speaker Flower is Yan Jun's speaker system as instrument. Alongside of music event, he also use it for sound installation. It's only able to playback tiny sounds and they have no bass. More Speaker Flowers can be set on long cables as vine, to spread in space. It's cheap and easy.
Over the Speaker Flowers you hear two new pieces by Yan Jun:?
– Berlin_Seeds: Recorded by Duan Xiaolin at nice tune studio. Sounds of cracking sunflower seeds (my favorite snack).
– Berlin_Wind: recorded at home on a windy day which is Yuanxiao festival. Firecrackers can be heard occasionally.
The richly illustrated booklet "Speaker Flowers" with an interview by Knut Remond with Yan Jun by e-mail, biography and description in Englisch and German is published in limited edition (10 copies), available at 'ohrenhoch'.
The Speaker Flowers can be bought individually.
ohrenhoch präsentiert am Kunst-Festival 'Frühlingserwachen' im Reuterkiez:
Samstag 24. März 2012, 18 - 21 Uhr?
Sonntag 25. März 2012, 14 - 21 Uhr?
und zusätzlich am ohrenhoch-Sonntag 1. April 2012, 14 - 21 Uhr:
Baby Fun
noisy box - Klanginstallation
von den ohrenhoch-Kids-Youngsters?
Leitung: Knut Remond?
Eine wechselvolle, leuchtend-bunte Geräuschdarstellung für kleine bis fette Ohren. Eine Sound-Oase auf eine besondere Art.
Pappschachtel / Kartonbox / Cardboard Box mit Geräuschen
Ein Soundtrack auf mp3-Player mit zusätzlichen bespielten leuchtenden Samplerkästchen mit Knöpfen zum Drücken.
VORSICHT! Wichtige Information für die interessierten BesucherInnen: Die Kartonbox spielt die Geräusche erst ab, wenn die BesucherInnen in die Box hineinschlüpfen :-)?
Bitte mit der technischen Infrastruktur in der Kartonbox (in der es dunkel ist) behutsam umgehen, und speziell die kleinen violetten Samplerkästchen mit Vorsicht bedienen.
'ohrenhoch, der Geräuschladen' besteht seit 2008 und präsentiert das internationale zeitgenössische Schaffen der elektronischen bzw. akusmatischen Musik. Die ohrenhoch-Kids treffen sich einmal pro Woche im 'ohrenhoch, der Geräuschladen'. Jede & jeder ist herzlich willkommen mitzumachen um schließlich ein ohrenhoch-Kid zu werden. ?
(Elektroakustische Musik bzw. Tape Music, Mixed Media, ein Institut für Klangkunst und Mixed Media für Kinder und Jugendliche)?
ohrenhoch ist eine internationale Galerie für Klanginstallation und elektronische Musik.?
(Der Schwerpunkt von 'ohrenhoch, der Geräuschladen' ist Fixed Media, Klangobjekte, Klanginstallation und Video)
Die ohrenhoch-Schule für Klangkunst und Mixed Media für Kinder und Jugendliche von 7-14 Jahren ist kostenlos. Für noch kleinere Kids besteht die Möglichkeit beim ohrenhoch-Kids Nachwuchs (Youngsters) mitzumachen.
"...der Mensch spielt nur, wo er in voller Bedeutung des Wortes Mensch ist, und er ist nur da ganz Mensch, wo er spielt..." Friedrich Schiller
Weitere Informationen beziehen Sie direkt bei Knut Remond im 'ohrenhoch, der Geräuschladen' oder über die Email-Adresse This e-mail address is being protected from spambots. You need JavaScript enabled to view it
„Es ist mir wichtig, den Kindern und Jugendlichen eine Hörwelt auf vielfältigste Weise anzubieten, wo sie die Möglichkeit haben, schon früh mit der modernen zeitgenössischen Klangkunst in Berührung zu kommen. Die ohrenhoch Musikschule sensibilisiert für die Akustik, für das Klingende, für das Unerhörte wie zum Beispiel unsere alltäglichen Geräusche, und für die Vielfalt der zeitgenössischen elektro-akustischen Musik... Wir sind eingebettet in einem reichhaltigen, faszinierenden aber auch unheimlichen Klanguniversum. Lachen, räuspern, Zeitungsrascheln, Handy-Töne, Motorenbrummen, Vogelgezwitscher, Türenquietschen, Regenprasseln, Tellergeklapper, Wasserrauschen, säuseln, zischeln, knirschen, blasen, knacken, knistern, wispern. Dieses Spektrum von Geräuschen werden wir untersuchen durch verschiedene Manipulationen und Transformationen. Das erlaubt uns, tief ins Innere der aufgezählten Klänge einzutauchen, um die verborgenen Schönheiten, aber auch ihr Unheimliches auszuloten. Die Welt besteht nicht nur aus Bildern, sondern es tönt und klingt um uns, die Augen können hören, so wie die Ohren sehen können.“ (Knut Remond)
ohrenhoch presents on
Sunday 4 and 11 March 2012, 2 pm - 9 pm:
Trinity
(2012, Premiere)
Single channel video loop
by David W. Halsell
David W. Halsell on 'Trinity' [10:39]:
Trinity is a contemplation, or possibly a meditation, on the origins of the Atomic Age. The title comes from the code name of the first nuclear weapons test. The projection consists of three images depicting multiple time scales and orders of physical magnitude. The soundtrack is digitally processed recording of hymns from the final church service of the day in the Christian tradition of canonical hours.
ohrenhoch is presenting in the basement the video loop with sound, and the soundtrack for itself in the shopwindow space over the ohrenhoch-loudspeaker-installation.
Sunday 19 and 26 February 2012, 2pm - 9pm:
at ohrenhoch, and via live stream on ohrenhoch.tv
Home
(2012, Premiere)
Interactive sound installation
by Chelsea Leventhal
Tesla T65s telephones with Arduino Uno and Waveshield, 1-channel audio.
Chelsea Leventhal on 'Home':
'Home' is a sound installation that explores the feelings of isolation and connection inherent in telephone conversation. The original hardware of each rotary telephone has been hacked and connected to a microprocessor, allowing artificial control of the phone’s original functions. The original bell of each phone is supplied with uneven bursts of electrical current, resulting in a ringing that is listless and stuttering, driven by a stubborn external force. When the visitor answers the phone and holds the receiver to their ear, they hear one side of a conversation from an anonymous individual on the other end of the line. Lacking context for these fragments, a certain type of paralysis ensues, as the visitor is unable to understand or respond. Home is a forged representation of communication, a reflection of comfort and disappointment.
I would like to thank Martin Schied and Georg Morawietz for their technical assistance.Additional thanks to Daniel Furuta and Kimberly Meenan.
Knut Remond had a talk with Chelsea Leventhal about her sound installation "Home".
The interview as a beautiful booklet, illustrated by Knut Remond, is available at 'ohrenhoch' in a small edition.
"...eigentlich ist es eine Komposition, aber ich habe das sehr spannend gefunden, mit Strom zu komponieren statt mit Noten." Chelsea Leventhal
To hear on Sunday 5 and 12 February 2012, 2pm - 9pm:
samidara1 (Premiere)
von Merzbow
'samidara1' is an unreleased work for using the method of several granular synthesis programs and random process of the composition.
Reference to my other albums of the same concept as 'Graft' (Cold Spring), 'Jigokuhen','Chabo' (important Records), 'Ouroboros' (Soleilmoon).
"Merzbow showered me for the first time at CBGB's 315 Bowery, New York, NY 10012 at Bleecker St. I was holding a glass of Wild Turkey in my right hand, the sound cascades whipped, blared, and crossed the space. Merzbow contorted like a maned trapped and distraught wild animal trying to break free. A tangle of matt and glistening clusters surging up, embracing each other, then collapsing again. Electric sparks flickered up the walls and cut off 'old zoepfe'. My heart was shining bright orange. My bones and guts vibrated. It was at the time when I played with Voice Crack and Borbetomagus, with my Big Drum and my Electric Rattle. By the way the laying-battery-music was already increasing at that time - namely a trimmed and monetarist pop and jazz drivel. It was an impressive demonstration by Merzbow about what music is able to."
- Knut Remond, ohrenhoch -
To hear on Sunday 29 January 2012, 2pm - 9pm:
Live on Tape, Belgrade
(2010 / 2012)
by Knut Remond
A tape piece for 4 mini fans, 2 lint shavers, pick-ups, V256 (Vocoder) 1 Boss mini mixer, 1 gooseneck microphone, 1 Roland Mobile Cube, and 2 micro amps.
With exhibition of the handbag electronics
From Berlin to Belgrade: A jet aircraft, a Boeing of Jat Airways. I had a seat at the window with a view to the wing, the overtone turbo-jet-engine sounded inspiringly. My "handbag electronics" in the cabin luggage, wrapped in synthetic purple, containing: 4 mini fans, 2 lint shavers, pick-ups, 1 Boss mini mixer, 1 Roland Mobile Cube, and 2 micro amps.
It's a live performance on several days in the military museum "Kalemegdan" (Battlefield Fortress), in the middle of the highest point of Belgrade and above the Sava river.
Live on Tape: Belgrade
In a narrow, long vaulted Byzantine space with several vaulted niches on both sides (I first thought it was a ballroom for staggering Draculas for a B-movie), a fortress space (merely...) of the Belgrade Military Museum, there in Kazamati the "Echo Festival" took place, an event or rather performances with participants from Serbia and Switzerland (see below), including my solo piece Live on Tape Belgrade.
... in the middle of countless spaces i was looking for a sound box for my handbag electronics. I balanced between soldier's memorial plaques, dented projectiles, bombs, missiles and rusty grenades. At the same time I heard the grinding and sucking of the vampire's eye teeth from the damp, exfoliated and dusty walls. I discovered a wooden caisson, tucked it under my arm and placed it in one of the numerous niches. On the cover I sticked my pick-ups and placed the mini fans and the lint shavers. The cannonballs on the floor became my seats.
'ohrenhoch - the Noise Shop' presents
on Sunday 15 and 22 January 2012, 2pm - 9pm
Heimatklänge I/II
Installation (2012)by Christiane Prehn and Wolfgang Meyer (KG Augenstern)
A work conceived and composed specially for 'ohrenhoch' - by two artists living on a boat, and dealing with sound and sculpture.
"When we boarded the boat of Christiane Prehn and Wolfgang Meyer on a wet, hazy day, i soon realised that the way of perception, for example the distant view and the difference between water and land, offer a different perspective and point of view. In other words: later in the dusk i noticed that diagonally opposite, quasi in visibility, the Allianz building as a navigation mark shows off like a lighthouse. Oddly enough, an observation that would never have catched my eye on shore or on a road so massively, and not with favour either..."
Knut Remond - ohrenhoch
Heimatklänge I - in the ohrenhoch shopwindow space
(Installation, 130x130x230cm, wood, plexiglass, glass, loudspeakers, 4 mp3 players)
In the east of Berlin, on the waterfront of the Spree, there is the tower building of the Allianz insurance. In the course of the day the appearance of the facade is changing permanently through the opening and closing of the blinds or the turning on an off of the illumination in the different rooms.The work takes on the aforementioned changes on 09/12/2011, and translates them into colours and sounds. It shows a mosaic of coloured glass stones on each of the four sides.Each of these mosaic surfaces is divided in 24 fields referring to the condition of the building on the 24 full hours of the day.A tower-like, partially closed sculpture was produced, and can be entered by the visitors.The coulour patterns of the mosaic, like a score, are converted into electronically generated sounds. The 24 hours are condensed to 240 seconds in the composition. The viewer hears the sounds when entering the installation.
Heimatklänge II - in the ohrenhoch basement
(Installation, 4 wooden plates, wax, 4 vibrators)
From the boat: at night in the water of the Spree the lettering of the Allianz tower building is reflected.
To hear on Sunday 1 and 8 January 2012, 14 - 21 Uhr
Un souffle de vie (A Blow of Life)
Video und elektroakustische Musik (2006, German Premiere)
by Mario Mary
Piece in three parts (Inconsciente electroacústico, Sombras de tango, Malambo sensual)
Commission: INA-GRM. Premiered in Olivier Messiaen hall of Radio France, Paris.
The presentation at ohrenhoch of "Un souffle de vie" is split up in two independent rooms. This means that the soundtrack of "Un souffle de vie" is played, without image, in the gallery's listening space over the legendary loudspeaker installation, and at the same time in the basement the video "Un souffle de vie" is presented with image and sound. I arranged this idea with Mario Mary, because I think that this form of presentation is very interesting, and the spaces of ohrenhoch are as if they were built for this experiment.
Knut Remond
ohrenhoch - the Noise Shop
Mario Mary about "Un souffle de vie" [16']:
The visual materials had been utilised in the same way as the sound materials in the electroacoustic music composition. The work is impregnate of sensuality and a certain erotism integrating the musical and visual discourse. Each movement of this piece touch a different topic, where the sound-image relationship had been speciality created. The music it's not an accompaniment of image, she's also an autonomous music work. The image had been, in general, conceived as a painting alive, which move and transform incessantly. Abstract wefts are "visited" sporadically for figurative sequences, creating a dream world, principal topic of the first movement. The second and third movement evoke the sonorities of two argentine's dances: Tango and Malambo respectively.
To hear on Sunday 18 and 25 December 2011,
2pm - 9pm:
The Geometry of Time (Premiere)
by Bill Alves
Bill Alves on "The Geometry of Time" [13']:
Sounds over loudspeakers in a gallery become an expression of space. Sufis wrote of geometry as a gateway to the soul, and the abstract patterns of Islamic art bring to our senses the numbers of Pythagoras. Musical tones, then, are a geometry of time, represented in this piece by increasingly complex whole number frequency ratios, an exploration up and out from the harmonic series of acoustic sounds.
Premiere - at 'ohrenhoch' exclusively
in the concert series handbag electronics
LIVE on 11 December 2011, 9 pm
'killamor' is a duo with Knut Remond and Daniel Buess. The performance on 11 December will be staged for 'ohrenhoch - the Noise Shop' exclusively.
Due to the small space of the sound gallery the number of visitors is limited. For booking please e-mail: This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Admission: 5 Euro
The performance will be webcasted live on ohrenhoch.tv
On the occasion of the nomination for the junge ohren award 2011 we - the ohrenhochKids and Knut Remond - present the video documentation SOUNDCAKE, and parallel to that we offer and show the grandiose Sound Cake in the original which you can operate yourself.
Sunday 4 December 2011, 2pm - 9pm
Sunday 11 December 2011, 2pm - 8pm
To hear on Sunday
20 and 27 November 2011, 2pm - 9pm
La boîte de Fukuyama
(Fukuyama's box)
Electroacoustic composition (2001)
by Georg Katzer
Georg Katzer on "Fukuyama's box" [11'30'']:
In this piece, sounds from the world of information technology are processed in a highly amplified way, the sizzle and crackle of the chips and contacts, the hiss in the wires. With brute force like out of Pandora's box an electronic "orgue de la barbarie" (hurdy-gurdy) breaks into this mysterious and hermetic world. The rest is noise.
The American philosopher Francis Fukuyama proclaimed the End of History after the fall of communism. (Unfortunately, for many peoples there hasn't been any history of their own at all since a few hundreds of years.) Nothing moves any more, the bottles empty, the utopias over and done, the world only the total of clicks and cracks in the deluge of the information channels?
But who is constantly turning the crank of the "orgue de la barbarie"?
2001, Studio of the composer/Studio IMEB Bourges
Premiere Bourges 2005, Festival "Synthèse"
ohrenhoch-Kids present:
ohrenhoch is NOCTURNAL no.2
Sound-space installation by the ohrenhoch-Kids and the ohrenhoch-Youngsters
The night in a quiet place puts the sounds in phantastic - spooky moments and enchants our senses, a scurrying mouse throws us in another sphere, so to speak.
Saturday 5 November 2011, 6pm - 11pm during the festival NachtundNebel
ohrenhoch-Sundays 6 and 13 November 2011, 2pm - 9pm
We are happy to present you and to all interested people, the fans and sponsors of the ohrenhoch-Kids the old but extended production "ohrenhoch is NOCTURNAL no.2".
The ohrenhoch-Kids present in several rooms the space-sound-installation created by themselves, and will accompany the small and big hearers through a dark labyrinth of sounds with their pocket flashlights.
To hear on Sunday
23 and 30 October 2011, 2pm - 9pm
In Place: Piazza Cella, Zürich
(2011, Premiere)
by Jason Kahn
Jason Kahn on 'In Place: Piazza Cella, Zürich' [29:45]:
"In Place" is a series of works which deal with the notion of "the field recording" in current practice.
I think a lot of the work around field recording has involved the notion of using devices to
record sound in the field, whereas for me I often feel that the process of recording, of being in a certain place, spending time there, absorbing that place, as it were, is really what I take away with me when I go somewhere to record. The recordings are really just a kind of documentation of the experience of being in a certain place.
My idea is to spend a day in a place and then, instead of recording this, writing a text about the experience of being in this place. So, in a sense the text would be the field recording. The recording of my voice reading this text would then be the final material for an installation.
What you have, then, is a recording (audio) of a recording (text) of a place. I literally “read” a place.
In this case, I spent twelve hours – from noon to midnight – on August 6, 2011 at the Piazza Cella in Zürich's Kreis 5, a neighborhood primarily known for drugs, violence, bars, prostitution and, more recently, many galleries. Until 2009, the Piazza Cella used to be a taxi stand. In an attempt to rehabilitate this neighborhood the City of Zürich decided to make the Piazza Cella into a place for people to sit and linger—a bold concept for an area where lingering practically equates with some transgression against the legal code.
To hear on Sunday
9 and 16 October 2011, 2pm - 9pm
Harbour Symphony
specially edited for ohrenhoch
(1986, European Premiere)
by Hildegard Westerkamp
---With exhibition of picture and text material---
Hildegard Westerkamp on 'Harbour Symphony [13:10]':
On May 2nd 1986, nearly 150 boats of all sizes and shapes gathered in Vancouver Harbour around Canada Place to perform the first–ever Vancouver Harbour Symphony for boathorns.
The piece was composed on commission from the Canada Pavilion for its Expo 86 opening. It is probably the largest environmental music event ever to be mounted in Vancouver.
In this version you also hear the radio communication between the boats, some fireworks and at the end, a free-for-all fanfare of all boathorns
The 'Harbour Symphony' was composed in memory of my brother, Helmut Westerkamp, who, as a cadet sailor on the German training ship “Pamir,” went down in a hurricane in the mid-Atlantic on September 21, 1957.
ohrenhoch presents on Sunday
25. September and 2. October 2011, 2pm - 9pm
Tough Sky
audio + video installation (2011, world premiere)
by Mark Trayle
Mark Trayle on 'Tough Sky' [13:32]:
I once heard the term "tough sky" used in a radio broadcast of a baseball game. It describes the difficulty of seeing the baseball against a white, cloud-filled sky. I thought it invoked an image of a kind of material texture, as if the sky were a rough surface instead of an almost-empty space. Far from being empty, the sky is filled with animals, signals, and vapors. It's a very busy place.
The piece is constructed from a few hours of footage of the sky. Clouds move in the background, outlines of clouds move in the foreground, downsampled skies split the screen into twos and threes. The sound is from processed field recordings (taken at the same time and place as the video) with a bit of digital synthesis thrown in.
To hear on Sunday
11 and 18 September 2011, 2pm - 9pm
BlowUp
(2010, European Premiere)
by Åke Parmerud
Åke Parmerud on 'BlowUp':
The piece uses sounds of a grand piano with different forms of digital transformations. The title can either be thought of as an "exploding" piano where the different sounds work like particles flying off in different directions or it can be thought of as an enlargement of the body of the piano (as in the photographic sense) letting the instrument be exposed in a over dimensioned fashion.
"BlowUp" is a sound installation created for the MUAC Museum of contemporary art in Mexico City. The original composition is made for 24 channels of audio. The version presented at ohrenhoch is a stereo mix of all channels.
Sonntag 4. September 2011, 21:00 Uhr:
Daniel Buess u. Knut Remond - handbag electronics
Daniel Buess
To hear on Sunday 28 August und 4 September 2011,
2pm - 9pm
defeat.
audiodrama or
psychosonic? (2011, UA)
by Knut Remond
Knut Remond on 'defeat.' [17:56]:
The material are mobile phone video recordings by US soldiers educating Iraqi children with, for instance, footballs, chocolate and soft toys.
I TOOK OFF THE SOUNDTRACK FROM THE PICTURES AND CUT IT UP
"The devil has power to assume a pleasing shape"
William Shakespeare (Hamlet)
defeat. is an attempt for ohrenhoch to prepare the future of the audio drama.
ohrenhoch presents
on Sunday 14 and 21 August 2011,
2 pm - 9 pm
at ohrenhoch and on Livestream ohrenhoch.tv
Sound Cape
Sound Installation (2011, Premiere)
by Kyoka and Akitoshi Honda
Kyoka and Akitoshi Honda on 'Sound cape':
Sound cape I is a dress made from a square of fabric without any cutting and sewing. Each point that shows the human body to be more beautiful is well calculated. Moreover it surprisingly leaves symmetrical creases on its material. Therefore each dress can exhibit the unique units of printing and fabrics.
Sound cape II is a small model of sound cape I, which is focused on the instructions for sound cape I. The user will hear different sound components when he makes a sound cape from the square cloth by following the instructions.
To hear on Sunday 31 July and 7 August 2011,
2 pm - 9pm:
Acoustic Mirror
(2011, German Premiere)
by Lars Åkerlund
Lars Åkerlund on his piece 'Acoustic Mirror' [15:23]:
Acoustic Mirror is one of a series of pieces based on recordings of everyday life. The method used in this work was to analyse the frequency content of these sounds and to build chords, using sine waves and frequency bands of noise to match these.
My interest was both to go through different levels of presence and to have different and simultaneous impressions of presence; to be here, there… and not.
The original ”meaning” of the sound is not important here. The mixture of recorded material and sine waves/filtered noise provide a link between what we can experience as reality and another world that maybe we can experience as spiritual, maybe musical….
Acoustic Mirror is one of five tracks of the cd XENON by Lars Åkerlund that was released earlier this year (2011) by Firework Edition Records (FER 1090).
To hear on Sunday 17 and 24 July 2011,
2 pm - 9 pm:
All In Time
(2011) ?
by Sarah Boothroyd
Sarah Boothroyd on her piece "All In Time" [25']:
The clock ticks; the moon waxes; the autumn leaves turn crimson. Time is as ubiquitous as it is elusive. Guided by science and science fiction, All In Time traverses the timeless mystery of time itself.
Special thanks to physics maven Peter Watson; to antique clock collector Georges Royer; to Morgantj and Dokashiteru for providing Creative Commons samples; and to Himan and Melina Brown for permitting the use of CBS Radio Mystery Theatre clips.
This 25-minute work won the Luc Ferrari International Broadcast Arts Competition and was commissioned by La Muse En Circuit (Centre National de Création Musicale), with the support of Radio Suisse Romande, Deutschlandradio Kultur, RTBF Musiq 3, Groupe de Recherches Musicales, and Radio-France.
In 2011 All In Time was presented on Radio Suisse Romande in Switzerland, Deutschlandradio Kultur in Germany, as well as at the Archipel Contemporary Music Festival in Geneva, at Festival Extension XI in Paris, at Netaudio London, and at the Deep Wireless Festival in Toronto. The work recently won a Gold World Medal for Best Sound at the New York Festivals Radio Programming Awards.
To hear on Sunday 3 and 10 July 2011,
2 pm - 9 pm:
Timbre Wheel Timber Tongue
Version specially created for ohrenhoch (2011, Premiere)
by Juraj Kojs
Juraj Kojs on "Timbre Wheel Timber Tongue" [11']:
Timbre Wheel Timber Tongue is a composition for the Slovakian wooden noise makers and electronics. Rapkac (the noise maker) is an early percussive signal instrument preceding the bells.
The work explores the percussive qualities of the noise makers, their perpetual patterns, the way how their raw wood finish sounds when intimately rubbed, scratched and twirled.
13. Art- and Culturfestival "48 Stunden Neukölln",
17. - 19. Juni 2011:
"ohrenhoch-Land" - a picture-sound-journey by and with the ohrenhoch-Kids
Luxury is just young people changing the world!
ohrenhoch-Land am 13. Kunst- und Kulturfestival "48 Stunden Neukölln":
Friday 17.06.11 19 – 23 Uhr [ohrenhoch-Kids Live 19 - 21 Uhr]
Saturday 18.06.11 14 – 23 Uhr [ohrenhoch-Kids Live 14 – 16 / 17 – 20 Uhr]
Sunday 19.06.11 14 – 21 Uhr [ohrenhoch-Kids Live 14 – 16 / 17 – 19 Uhr]
ohrenhoch-Land ist eines der 'Highlights' des Festivals und ist nominiert für den Kunst- und Publikumspreis.
Weitere Daten und Zeiten:
Mittwoch 22.06.11 17 – 20 Uhr [ohrenhoch-Kids Live 17 - 19 Uhr]
Samstag 25.06.11 17 – 20 Uhr [ohrenhoch-Kids Live 17 - 20 Uhr]
Sonntag 26.06.11 14 – 21 Uhr [ohrenhoch-Kids Live 17 - 19 Uhr]
Zu hören am Sonntag 5. und 12. Juni 2011,
14:00 - 21:00 Uhr:
Quintessenz
Hörstück für ohrenhoch (2011, UA)
von Thomas Gerwin
Thomas Gerwin über "Quintessenz" [23'05'']:
Die Quintessenz (von lat. quinta essentia „fünftes Seiendes“, das Wesentliche, Hauptsächliche, Wichtigste) war bei den Pythagoräern das fünfte Element, auch Äther genannt. Aus ihm sind die vier antiken Elemente Feuer, Wasser, Erde und Luft entstanden. Die einzigartige Kraft dieses Elementes ist es, leblosen Gegenständen Leben einzuhauchen. In der Physik wird als Quintessenz eine hypothetische Form dunkler Energie postuliert, die für eine zunehmende Expansion des Universums verantwortlich gemacht wird.
Dies ist nach "Die Alchemie der 4 Elemente (DLR Berlin 2006) und "Der Stein der Weisen" (Tschechisches Radio Prag 2010) die dritte und elementarste Arbeit, in der Thomas Gerwin versucht, das geheime Wissen der Alchemie für das Gebiet der (Klang-)Komposition fruchtbar zu machen.
PREMIERE - EXKLUSIV - HERZLICHE EINLADUNG:
SoundCake
Video-Dokumentation von den ohrenhoch-Kids und Knut Remond
Sonntag, 29. Mai 2011, 14:00 - 21:00 Uhr
In der Video-Dokumentation SoundCake werden die ohrenhoch-Kids mit einer Handykamera begleitet, die abwechslungsweise von Knut Remond, Leiter der ohrenhoch-Kids und den Kindern selbst auf ihren Tonaufnahme-Exkursionen in Berlin-Neukölln geführt wird.
SoundCake dokumentiert die prozesshafte, mehrmonatige Entstehung der Produktion "Tontorte, Tonkohl, Tonbanane, Tonapfel, U7", die anlässlich der 650-Jahr-Feier von Berlin-Neukölln bei dem Kunst- und Kulturfestival „48 Stunden Neukölln“ im 'ohrenhoch' präsentiert wurde.
Die 8- bis 13-jährigen ohrenhoch-Kids unternahmen 2010, ausgerüstet mit 2 Tonaufnahmegeräten, 2 Kopfhörern und 2 Tonangeln, wöchentlich akustische Streifzüge und Field-Recording-Exkursionen durch Neukölln, um Tonaufnahmen einzusammeln auf den Strassen, Plätzen, in der U-Bahn, in Parks und Gebäuden.
Die Video-Dokumentation SoundCake ist ein eindrückliches Dokument, das veranschaulicht, wie die ohrenhoch-Kids ihre Fieldrecording-Exkursionen durch Neukölln zu Klangobjekten und Klang-Raum-Installationen umgesetzt und erweitert haben – die Verknüpfung von akustischen-visuellen, Objekt-Ebenen.
To hear on Sunday 15 and 22 May 2011,
2 pm - 9 pm:
Sarnath
(2010, German Premiere)
by Felipe Otondo
Felipe Otondo on 'Sarnath':
This piece was created as part of the project The Buddha's Footprint using field recordings from Buddhist pilgrimage sites in India. The field recordings, made by Francis Booth, include bells, drums and chants from the places where the Buddha lived and taught. The composition explores the use of textures and rhythmic passages to create different types of sonic environments linked to intense and subtle states of mind experienced through meditation practice.
To hear on Sunday 1 and 8 May 2011,
2 pm - 9 pm:
Welcome To Hasla
(2007)
by Suk-Jun Kim
With presentation of the book/DVD "HASLA"
(2010, Editor: Berliner Künstlerprogramm des DAAD)
Suk-Jun Kim on "Welcome To Hasla" [11 min.]:
Welcome to Hasla! A faraway land on which you feel as strange as familiar. A place to which you have never traveled, yet that resembles eerily every town you have visited before. A town that as soon as you arrive, you realize that you have already left.
Welcome To Hasla is a 5-channel electroacoustic music that is loosely based on Italo Calvino’s Invisible Cities. I am imagining a writer, who has just been to a city of which name is very slippery to remember. In the middle of a night, he wakes up from a strange dream. Trying to write about the city he has been to and dreamed about, a name suddenly occurs to him: Hasla! But, at the same time, he is no longer sure whether he actually made the travel or his dream has finally caught him for good!
Welcome To Hasla was commissioned by IMEB, Bourges, France, and composed at IMEB and VICC, Sweden.
To hear on Sunday 17 and 24 April 2011,
2 pm - 9 pm:
Aurore II (2004)
by Chengbi AN
Recorded in the studios of GRM at Radio France
Chengbi AN on "Aurore II" [15'34"]:
This music is inspired by the outbreak of light at dawn. The structure of the piece is divided in three parts and calls to mind, by expanding it in time, this specific moment where the energy of nature reveals itself.
The sounding materials are produced by traditional Korean instruments as the Jan Go (percussion), wooden flutes Dae Kum and different objects.
I processed and edited these sounds to produce different kinds of sounding objects whose morphologies are based on natural models :
Fast and strong outpourings of light, short and animated or quiet and long breathes, deep and dynamic moves of matter.
The original version of this piece was realized in 5.1 multi-channel format in order to work more efficiently on the deepness of acoustic images. Therefore, I was able to develop multiple relationships between punctual elements, localized in space, and trajectories opening out sounds on the listening space.
So the piece qualifies in a special way for the sound gallery 'ohrenhoch, der Geräuschladen' with its unequaled depth of field. (ohrenhoch's note)
To hear on Sunday 20 March and 10 April 2011,
2 pm - 9 pm:
Grid (Continental European Premiere)
by Ros Bandt
With exhibition of the score
Ros Bandt on 'Grid' [18'17'']:
Its a stereo file of the steel sounds derived from the City Link smoke stack in Melbourne which draws the car fumes out into the atmosphere from Australia's first toll road under the Yarra River in Melbourne. It was made in the studios of the Australian Broadcasting commission which looks out over the stack. All sounds were derived from 8 track original recordings, plate, sensor, omni, cardiod, at the site up the cylinder and under the ground. They were treated electro-acoustically according to the architects autocad profile of the exoskelton which you can see painted red on the exterior of the Black chimney stack. Laid on its side, this was my score. A large section of the cylindrical tubular steel exoskeleton was taken into the studio and turned into an electronic sound sulpture as a wired sound source.
The ohrenhoch-Youngsters present the work "Springtime Encounters Aliens" on the permanent loudspeaker installation at 'ohrenhoch – the Noise Shop' in conjunction with the 'Frühlingserwachen' ('Spring Awakening') festival 2011.
Director: Knut Remond
During the 'Frühlingserwachen' ('Spring Awakening') festival 2010, the ohrenhoch-Youngsters presented their successful audio play "The Flying Sound Carpet", and now comes their second coup "Springtime Encounters Aliens".
Saturday 26.03.2011, 19:00 – 22:00 *
Sunday 27.03.2011, 14:00 – 21:00 *
Sunday 03.04.2011, 14:00 – 21:00 *>
in conjunction with the 'Spring Awakening' festival in Reuterkiez in Berlin-Neukölln
The ohrenhoch-Youngsters meet every Saturday at ohrenhoch.
The youngsters are children between the ages of 5 and 8.
Various sound and/or noise instruments are played, discovered, and tried out either in groups or individually.
The spectrum of sounds ranges from synthesizer to instruments that the ohrenhoch-Youngsters built themselves.
The voice is also an important instrument, especially in order, e.g., to recognize how the voice is altered by means of various electronic effect devices.
Zu hören am Sonntag 6. und 13. März 2011,
14:00 - 21:00 Uhr
KÜM
von Neele Hülcker
Neele Hülcker über 'KÜM':
Mich interessieren klangliche Mikrokosmen, die uns hörbar oder auch unhörbar ständig im Alltag begegnen, denen wir aber normalerweise keine große Beachtung schenken. Diese Klänge sind für mich oftmals spannender als solche, die mit aufwendigen technischen Methoden elektronisch verfremdet wurden. Das, was wir sowieso schon kennen, in ein anderes Licht zu stellen und damit neue Hör-Situationen zu schaffen, deren Erfahrung nicht zuletzt im besten Fall auch die alltägliche Wahrnehmnung verändert, ist mein Ziel.
To hear on Sunday 20 and 27 February 2011, 2 pm - 9 pm:
Moon Fall
by Tim Perkis
Tim Perkis on 'Moon Fall':
Moon Fall is a work based on a recording of a story told by Hiromi Vardy, a Japanese dancer, biwa player and restauranteur from Berkeley, California. In 2008 we performed a theatre piece that we created together based on this story. She tells about an unusual experience she had many years ago, in which, after a long period of insomnia, she entered a trance in which she felt that the moon was calling her.
The piece presented here is a new work incorporating my sound design and electronic music with a recording of her relating the story. Additional sample material used in the mix include excerpts from a recording of an eariler work of mine, Lou Drift (2006), performed by San Francisco-based electronic music ensemble The Hub, along with vocalist Aurora Josephson.
To hear on Sunday 6 and 13 February 2001, 2 pm - 9 pm:
Uncertain Memory (German Premiere)
by Robert Dow
I photograph to find out what something will look like photographed.
(Garry Winogrand)
Robert Dow on 'Uncertain Memory' [Duration: 10‘00‘‘]
Uncertain Memory (2010) is constructed from a series of sonic ‘snapshots’ taken of various, mostly urban, settings recorded at different times in my past. For me, there are only these diverse images and my uncertain memory of the real events—sampled and now recontextualised.
With thanks to Joe Anderson for helping collect some of the ambisonic recordings used as source material in this piece.
Uncertain Memory was realised at EMS, Stockholm and the University of Edinburgh with funds made available from the Scottish Arts Council (Creating New Music Grant: Creative Development). It was premiered at the Royal Scottish Academy of Music and Drama in March 2010 and further performances include those in New York (NYCEMF 2010); Sheffield (Sound Junction); Ireland (Sonic Vigil); Bournemouth (Sounding Out 5); Aberdeen (Sound Festival); St Andrews (Younger Hall) and London (SoundFjord Sonic Art Gallery).
'ohrenhoch, der Geräuschladen' präsentiert in Kooperation mit "DAS Weekend"der transmediale:
PHONPIXMIX
FREITAG 28.01. von 18:00 - 22:00 Uhr
SAMSTAG 29.01. von 14:00 - 21:00 Uhr
SONNTAG 30.01. von 14:00 - 21:00 Uhr
PHONPIXMIX besteht aus Archiv-Geräuschen und Live Videos. Die Mixtur ist frohgemut angerührt mit X Zutaten von den ohrenhoch-Kids und dem ohrenhoch-Kids-Nachwuchs.
To hear on Sunday 16. and 23. January 2011, 2 pm - 9 pm:
Rothko IV (German Premiere)
by Germán Toro Pérez
Germán Toro Pérez on his piece 'Rothko IV' (2008):
From the perspective that time has give us on his whole work, Rothko appears to me as an Artist who followed over the years a path towards abstraction to express the fullness of his subjects through space and color in a deep personal way, independent from daily ephemeral necessities of art business.
In Rothko’s work what is been shown acts likewise than what remains concealed. Form and color language rise from the reflection about his subjects: the Greek myths, the origin of tragedy, the structure of the psyche, the surrealism, the fresco paintings from Fra Angelico, etc. Those are not aesthetical end in itself. That, what after slowly distillation remains, contains the essence of its origin. Not only that, what is being seen is thus present but also that, what became outward dispensable.
'Rothko IV' defines a clear syntax based on composition models that combine continuous and discontinuous elements. Discontinuous elements have the quality of recognizable sound objects that are combined in sequences leaving open spaces to perceive the sounds behind. Continuous sounds appear as surfaces and as a fluctuation processes. The piece is a further attempt to approach the idea of space as a superposition of layers that enter and leave the sound space covering and discovering further sound layers existing in the background and suggesting a process that continues beyond the limits of conscious perception.
To hear on Sunday 2. and 9. January 2011, 2 pm - 9 pm:
The Garden of Incorrigible Bicycles - (Premiere)
by Iñaki de Ahorcarte
Iñaki de Ahorcarte on his piece 'The Garden of Incorrigible Bicycles':
This piece was produced with sounds made by my bicycle itself and the sounds made when my bicycle interacted with the elements; the startup sound of my synthesizer; and the sound bank of an old sound called Fiona Brion. My dilapidated bicycle and its worn out parts react to the changes in climate (in this case the cold.) I recorded the noises made by the rear wheel, pedals and the chain and then put them through different filters and processes. I played all of the recorded sounds using Midi. I later added the synthesizer’s startup sound to the mix and worked with it on Midi until I arrived at a place I found interesting. To finish, I added little melancholic tunes with Christmas character via Midi, still using the old sound of Fiona Brion, improvising it all.
To hear on Sunday 19 and 26 December 2010,
2 pm - 9 pm:
Fragments - created for ohrenhoch (Premiere)
by Seiji Morimoto
Nicht-Musik-Daten (psd, tif) wurden mit einer Musiksoftware zwingend geöffnet und zu Sound-Daten transformiert.
Diese sind kurz (10 Sek.) geschnitten und verteilt.
So gesammelte 100 Fragmente werden von zwei mp3-Playern mit der Zufallswiedergabe-Funktion abgespielt.
"Das ist keine Musik, sondern eine Auslage eines Katalogs, der ständig geblättert wird." (Seiji Morimoto)
DAS OHRENHOCH ÖFFNET SEIN TÜRCHEN
am Adventsparcours im Reuterkiez
Samstag 11. Dezember 2010, 18 - 22 Uhr
Sonntag 12. Dezember 2010, 14 - 21 Uhr
Das besondere Weihnachtsgeschenk bei 'ohrenhoch, der Geräuschladen':
BABY-NACHTTROPFENDRACHE - eine Geräuschbox
Zwei Jahre nach der Anlieferung des NACHTTROPFENDRACHE im 'ohrenhoch, der Geräuschladen' in Berlin-Neukölln werden nun 10 quietschfidele Baby-Nachttropfendrachen Grösse 25 x 8 x 8 cm präsentiert und zum Kauf angeboten (Limitierte Edition, nummeriert)
Tetsuo Furudate has created for ohrenhoch the three-hour-piece "La Folie du Jour".
To hear on Sunday 28 November and 5 December 2010, anytime between 2 pm and 9 pm:
La Folie du Jour - created for ohrenhoch (Premiere)
by Tetsuo Furudate
TETSUO FURUDATE will add LIVE-SOUND to the piece on December 5th, from 2 pm - 9 pm.
For those who want to hear one loop in full length:
Loop starts at:
2 pm
5 pm
8 pm (until 9 pm)
Tetsuo Furudate on 'La folie du jour' (180 Min.):
"I was eager to become a Blanchot, because he created a new concept of what death is" (M. F. G. D.)
I made this sentence from two texts by different persons.
The persons are Michel Foucault and Gilles Deleuze.
I also think (same as Foucault ) I wish if I Blanchot I want here the sound of death.
This sound might be imitate silent, a mimesis of silent but it pierce eardrums.
And we can hear this sound always, daytime also midnight also.
Tetsuo Furudate sound play by computer.
ohrenhoch der Geräuschladen presents on
Saturday, 6 November 2010, 6 pm - midnight (during the Berlin-Neukölln festival 'NachtundNebel')
Sunday 7 November 2010, 2 pm - 9 pm
Sunday 14 November 2010, 2 pm - 9 pm
SAMMELSURIUM
by the ohrenhoch-Kids and Knut Remond
"SAMMELSURIUM" ist ein kleiner Querschnitt und zugleich ein grosser Einblick, wie die ohrenhoch-Kids und der Nachwuchs Geräusche und Klänge in verschiedenen Konstellationen einbinden bzw. umsetzten in Klangobjekte, Installationen und Field Recording, oder einfach mit Geräuschen experimentieren.
SAMMELSURIUM besteht aus einem Video mit zwei kleinen Monitoren und
einer tönenden Stadtkarte
mit zwei tönenden Eiern.
Sie sehen und hören unterschiedliche Video-Clips, in denen die beiden Gruppen 'ohrenhoch-Kids' und 'Nachwuchs' sichtbar werden in ihren facettenreichen Geräuschforschungen.
SAMMELSURIUM von den ohrenhoch-Kids ist diesmal eine Präsentation, die zum grossen Teil von Knut Remond zusammengetragen und zusammengestellt wurde.
To hear on Sunday 21. November 2010, 2 pm - 9 pm:
BRUMES DU REVEIL
Irrgarten von Erinnerungen und Splittern der Wirklichkeit(2009, European Premiere)
von Brunhild Ferrari
Realised in the l'Atelier post-billig, Paris
Brunhild Ferrari on 'Brumes du Réveil':
Nebel umschleiert mein Aufwachen, und meine nächtlichen Erlebnisse tönen den beginnenden Tag.
Aber der Nacht entglitten, gibt es die Wirklichkeit des Tages? Wo fängt sie an?
Ist dieser Tag realer als das von Schimären bevölkerte Unbestimmte, das dem Erwachen vorausgeht?
Keine Richtlinien mehr, die mir Luc überlassen hätte wie in DERIVATIF. So segle ich allein, meiner Intuition und meinen Wünschen folgend.
NEBEL verflechtet Aufnahmen der Vergangenheit und Gegenwart, meine eigenen mit jenen, die ich aus Luc Ferraris Archiven zu entlehnen mir erlaubte.
Dumpfes Tönen der Morgendämmerung - Schwanken - in den Tag einschneidende Schwingung, in welcher Luc mir sagt, Blau sei ein Geräusch.
To hear on Sunday 17. and 24. October 2010, 2 pm - 9 pm:
To Know and Not to Know (2005, German Premiere)
by Noah Creshevsky
Noah Creshevsky on 'To Know and Not to Know':
Creshevsky’s most recent compositions are examples of "hyperrealism", an electroacoustic musical language constructed from sounds that are found in our shared environment ("realism"), handled in ways that are somehow exaggerated or excessive ("hyper").
Fundamental to hyperrealism is the expansion of the sound palettes from which music is made. Developments in technology and transformations in social and economic realities have made it possible for composers to incorporate the sounds of the entire world into their music. Essential to the concept of hyperrealism is that its sounds are generally of natural origin, and that they remain sufficiently unprocessed so that their origin is perceived by the listener as being "natural."
To hear on Sunday 3 and 10 October 2010,
2 pm - 9 pm:
Vista Points (2009, German Premiere)
by Manuella Blackburn
Manuella Blackburn on 'Vista Points':All materials used in Vista Points are derived from electric guitar sounds. Often the electric guitar sounds are left raw and then layered with processed materials. When these sounds interact, there are points of causality, conflict and turbulence.
This work explores the effect of varying the distance between sonic events. When constructing the piece, contrasts between pressured and voluntary behaviours became a primary focus with the aim of achieving moments of activity and emptiness.
Thanks go to Carlos Charles Lopez for providing the electric guitar sounds for this project.
ohrenhoch der Geräuschladen presents
on Sunday 19. and 26. September 2010, 2 pm - 9 pm:
Timepiece (Berlin, September, 2010)'
Soundinstallation - for ohrenhoch
by Thom Blum
Thom Blum on 'Timepiece':
The piece is written for and inspired by my father, who will turn 101 this year. On a narrative level Timepiece (Berlin, September, 2010) is about the passage of time and, more specifically, lifetimes. Many of the sounds in the piece act to convey time.
The project takes the form of a site-specific and very compact sound installation, consisting of multiple sound playback devices (“players”), each of which responds to a hand-held remote control unit. Each player is associated with a particular physical zone within the small gallery space of ohrenhoch, and each player is programmed with a distinctive collection of sounds that will be most audible within that player's physical zone.
The “remotes” can be used by up to 8 people at a time to start, pause, skip, choose sounds, and control the volume of the individual players.
The physical structure and layout of the sound zones, and their players, and the sounds that are audible in and from each zone will help to direct the walk of the listener through the space. Although a listener's path of motion through the space will influence their experience of the piece, there is no “one way” to proceed. All paths through and around the small space will be equally valid and will permit a unique but hopefully fulfilling and thought-provoking experience.
To hear on Sunday 5 and 12 September 2010, 2 pm - 9 pm:
Idle Chatter Junior (1997)
by Paul Lansky
Paul Lansky über Idle Chatter Junior:
Idle Chatter Junior is the fourth in a series of pieces that use fragmented speech to create textures in which listeners are encouraged to try to make sense out of nonsense, even though they will ultimately fail. At the end of the day all they are left with is the music of speech, which should be enough. This work is on a CD called Ride (Bridge 9103). The other chatter pieces are on More Than Idle Chatter (Bridge 9050).
ohrenhoch der Geräuschladen presents
ONLY THIS Sonntag
29 August 2010, 2 pm - 9 pm:
Herrichten: Operation Beograd
Sound installation
by Knut Remond
Knut Remond on 'Herrichten: Operation Beograd':
'Herrichten: Operation Beograd' ist ein installierbares, in eine Handtasche passendes Instrumentarium.
Die Vorbereitung für diese Operation wird in einer Klanginstallation im ohrenhoch präsentiert.
Eine sich im Aufbau befindende Installation aus einzelnen Apparaturen, die ich für die Operation Belgrad mitnehmen werde.
Die Live Konzerte und die modifizierbare Installation finden vom 9. - 11. September 2010 in Belgrad statt.Es soll eine einzigartige Auseinandersetzung werden, das heisst, dieses Konstrukt von Apparaten wird in einer speziellen Kombination nur in Belgrad präsentiert werden.
In der Präsentation im 'ohrenhoch, der Geräuschladen' wird das Handtaschen-Instrumentarium ‘Operation Beograd‘ in einer Klanginstallation getestet, die sich im Keller von ohrenhoch am Sonntag im Aufbau befindet.
Die Ausgangslage dieser Operation in Belgrad ist ähnlich wie im Keller von 'ohrenhoch': Sie wird in Belgrad in einem verschlungenen alten byzantinischen Gewölbekeller stattfinden.
ohrenhoch presents on Sunday 15 and 22 August 2010,
2 pm - 9 pm:
two works by Sharkiface:
on the ohrenhoch-loudspeaker-installation :
Gulf Coast Ghost - Soundpiece (German Premiere)
in the ohrenhoch-cellar:
Skin Dementia - Video by Sharkiface and Loachfillet (German Premiere)
Sharkiface on "Skin Dementia":
Skin Dementia peeks at the process of taking a forbidden journey one attempts to avoid, but can't control. Its the obsessive road you are pulled down despite resistance which inevitably ends in blackness, a foray into a Lynchian highway of perverness. The dark side of the tracks, where shock wave thoughts invade in sound blasts over hypnotic pulse tones of sin. This video is by Pigs in the Ground a duo of Sharkiface and Loachfillet.
ohrenhoch presents on Sunday 15 and 22 August 2010,
2 pm - 9 pm:
two works by Sharkiface:
on the ohrenhoch-loudspeaker-installation:
Gulf Coast Ghost - Soundpiece (German Premiere)
in the ohrenhoch-cellar:
Skin Dementia - Video by Sharkiface and Loachfillet (German Premiere)
Sharkiface on Gulf Coast Ghost:
A sound piece delving into the specific experience of an abnormal meaningfulness. The hypnotizing EVP of the Gulf [of Mexico] expressed in field recordings processed thru an extremely rare synthesizer, the Tranoe Ambrazier, created by Peter B. of Baltimore of which only 4 exist. This piece is part of a collage of animism and is the sonic interpretation of seeing faces in the sea and feeling spirits in the wind.
ohrenhoch der Geräuschladen presents
two works by Maggi Payne:
On Sunday 1 August and Sunday 8 August 2010, 2 pm - 9 pm:
on the ohrenhoch-loudspeaker-installation:
Glassy Metals (electroacoustic, 2009, German Premiere)
in the ohrenhoch-cellar:
System Test (fire and ice) (electroacoustic, Video, 2001, German Premiere)
by Maggi Payne
Maggi Payne on her Video System Test (fire and ice) [11:21]:
This work, which primarily uses my recordings of Jacob's ladders, ice melting, and papers sliding against each other as the sources, is a rather dramatic piece, which I attribute to the dynamic/dramatic character of the Jacob's ladder. There is such a powerful intensity in the discharges, accompanied by wonderful sizzling, hissing, crackling sounds, and powerful low frequencies; danger is always present. The sources are convolved, stretched, granulated, eq'd and further processed many times over, then whirled into this intense piece. There is also a visual component for this work, using four electroluminescent wired "imagers" in a very dark presentation space.
ohrenhoch der Geräuschladen presents
two works by Maggi Payne:
On Sunday 1 August and Sunday 8 August 2010
2 pm - 9 pm:
on the ohrenhoch-loudspeaker-installation:
Glassy Metals (electroacoustic, 2009, German Premiere)
in the ohrenhoch-cellar:
System Test (fire and ice) (electroacoustic, Video, 2001, German Premiere)
by Maggi Payne
Maggi Payne on her sound work "Glassy Metals" [10:00]:
A continuation of my fascination with the sounds of metal objects, Glassy Metals explores the sounds of tungsten filaments in burned out incandescent light bulbs, magnetic (iron oxide) tape rushing across a head stack, small ball bearings, ball chains of various sizes, sheet metal, tiny gear motors, bikes, BART (Bay Area Rapid Transit which permeates the sonic landscape of the San Francisco Bay Area), freight trains, and various other metal objects.
Some sounds are used in their raw state; others, such as the BART train, which now sounds like the wind, are transformed beyond recognition. Selecting only small portions of the spectrums of several sources and layering them results in new constructs with constantly fluctuating details. The ending exaggerates these perturbations, as sources emerge from the texture and fold back in as if they are fluttering insects hovering close to us briefly, then flitting away, only to return later. Although several sources are cyclic, none are precisely so, nor are they synchronous with other sources combined in the layers, so apparent synchronous relationships occur briefly, then drift apart.
Glassy Metals takes its title from non-crystalline (amorphous) metallic materials.
To hear on Sunday 18. and 25. July 2010, 2 pm - 9 pm:
- entrance free as always -
nanoscape.0 - created especially for the ohrenhoch-soundsystem (Premiere)
Genre: nanostep
by Timur Kuyanov
Additionally on 25. July, 8 pm in the ohrenhoch-cellar:
LIVE PERFORMANCE by Timur Kuyanov (entrance 3.- euro)
Timur Kuyanov on "nanoscape.0":
He will not let those giant excellent-sounding machines full of high-grade electronic components and producing mind-blowing musical progressions take control over him!
Using new generation of embedded devices, micro synthesizers and minimum of controls artist proves possibility of producing massive-sounding and dynamic performance in aesthetics of synthesized organic structures reminding of those neo-futuristic dreams of cyberpunk megapolis daily life
The ohrenhoch-Kids present
at the 12. Kunst- und Kulturfestival "48 Stunden Neukölln":
Sound Cake, Sound Cabbage, Sound Banana, Sound Apple, U7
Friday 25.06.10, 7 pm - midnight
Saturday 26.06.10, 2 pm - midnight
Sunday 27.06.10, 2 pm - 9 pm
Sound Cake, Sound Cabbage, U7 is presented additionally on:
Sunday 04.07.10, 2 pm - 9 pm
Sunday 11.07.10, 2 pm - 9 pm
Anlässlich der 650-Jahr-Feier Neuköllns unternehmen die ohrenhoch-Kids von 8-13 Jahren im Jahr 2010 wöchentlich Field-Recording-Exkursionen mit dem Tonband quer durch das pulsierende Berlin-Neukölln. Diese Neuköllner Tonbandwanderungen inszenieren und installieren sie in drei Etappen im ohrenhoch.
Sie präsentieren die erste Etappe am Festival 48 Stunden Neukölln und an den beiden darauf folgenden Sonntagen.
To hear on Sunday 13 and 20 June 2010
2 pm - 9 pm:
Nächtliche Strassenbahnfahrt durch Göteborg 1970 (Premiere)
by Sven-Åke Johansson
Sven-Åke Johansson über das Stück:
Die "Nächtliche Strassenbahnfahrt durch Göteborg 1970" vermitteltGeborgenheit durch Motoren und Druckluftaggregate in Funktion,die Stimmen des Schaffners und der Fahrgäste in der dunklen Nacht.
-- aus der Sammlung "Uher-Report Aufnahmen" im Feld 1968 - 1973 --
To hear on Sunday 30 May and 6 June 2010,
2 pm - 9 pm:
LIGHT - Stuck in a Cavern (created for ohrenhoch, Premiere)
by Julie Rousse
Julie Rousse on "LIGHT - Stuck in a Cavern":
This piece is a free sound poem on what it feels like to discover Light after a long - mythical - stay in darkness.
This is my free interpretation of Plato's Allegory of the Cavern.
This piece has been created in May 2010.
To hear on Sunday 16 and 23 May 2010, 2 pm - 9 pm:
fremdkörper (Premiere)
for ohrenhoch
by Annette Krebs
Annette Krebs on 'fremdkörper':
fremdkörper uses acoustic material from the pieces:
Sexhat keineKalorien (2009)
neblig (2009)
Kobe / Kaditzsch (Annette Krebs/ Taku Unami, 2009
Taku Unami: Doors, windows, banjo, voice)
The integrated field recordings were recorded in a Patchinko gambling hall in Tokyo, in a venue in Sachsen, at the Guggenheim House in Kobe and in my garden in Berlin.
To hear on Sunday 2 and 9 May 2010, 2 pm - 9 pm:
Fire (Premiere)
by Hélène Breschand
Hélène Breschand on "Fire":
This piece is built on radio extracts of "war of the worlds" of Orson Welles.
It is more about a movie, because the particular wager which pleases me in electro acoustic pieces, it is the relationship blind, between the public and the musician-composer. To mitigate the physical lack of the presence of the one and the other one, I need to recreate a dramatic art. Here, it is a question of making its own cinema, it can imagine, it give life to a world so that the one who listens to feels in posteriori fills with the presence of the absentee: the musician.
On Sunday 18 and 25 April 2010, 2 pm - 9 pm:
BUGGACIDE Part I/II (Premiere)
by Buggatronic
(Part I on April 18, Part II on April 25)
Buggatronic on BUGGACIDE:
The pieces Buggacide I and II are composed of recordings made on our latest tour in summer 2009 in Australia. They are partly live recordings of concerts, and partly were produced in several long nights in the JOLT-Space, Brunswick. The pieces are based on small sound producing robotics and machines. Their sounds were processed live, and supported and accompanied by electronics, small percussion and "no input mixing desks". The spontaneity, unpredictability and capriciousness is something that interests us and that we will continue to research also on our next tour in Japan and Australia in summer 2010.
To hear on Easter Sunday 4 April and Sunday 11 April 2010,
2 pm - 9 pm:
Apprentissage de la Douceur (January 2010, Premiere)
composed for ‘ohrenhoch, der Geräuschladen‘
by Bruital Orgasme
Recordings by Fil & Nath
Edited by Fil (under Nath approval)
Sounds from : Electricity - A turntable with records, and a prepared turntable without record – Voice – Filters …
Bruital Orgasme on "Apprentissage de la Douceur":
For us this piece sounds like you are walking in an unknown alley, and sounds, noises, are coming out of windows, or open doors… and sometimes you want to stop and listen, sometimes step backwards… sometimes rush toward the end of the street… to realize it’s a dead end alley…
Saturday 20 March 2010 7 pm - 10 pm at the festival "Frühlingserwachen"
Sunday 21 March 2010 2 pm - 9 pm
Sunday 28 March 2010 2 pm - 9 pm
The Flying Sound Carpet
The youngest ohrenhoch-Kids 5-8 years old present a flying sound carpet, which they created and Knut Remond pieced together.
'ohrenhoch, der Geräuschladen' is a school for electroacoustic music, acoustic play, field recording and sound installation.
Different sound- or noise-sessions which take place on Wednesday or Saturday at ohrenhoch, were interweaved like a patchwork for the Flying Sound Carpet.
ohrenhoch, der Geräuschladen
und die ohrenhoch-Kids präsentieren
exklusiv am Sonntag 14. März 2010, 14:00 - 21:00 Uhr:
NACHTTROPFENDRACHE
Geräuschbox-Klanginstallation (2008)
von den ohrenhoch-Kids
Der Nachttropfendrache lebt in einer geheimnisvollen Transportkiste, Absender unbekannt. Den Nachttropfendrachen kann man nicht sehen - aber hören, wie er sich in seiner Transportkiste vielleicht bewegt, schnaubt, kreucht und fleucht, quietscht, ruft, sich schüttelt und frisst.
Die Kiste darf man nicht öffnen, sonst...
Die Geräuschbox-Klanginstallation NACHTTROPFENDRACHE wurde ausgezeichnet mit dem junge ohren Preis 2008 in der Kategorie "Musik und Medien.
To hear on Sunday February 28 and March 7, 2010
2pm - 9pm:
Serkin Diabelli Beethoven-17 Noise Removal Process - created for ohrenhoch
by Spin-17
Spin-17 presents a "performance" of Rudolph Serkin performing Ludwig Van Beethoven's variation's on a theme by Anton Diabelli. Initially created through turntable manipulation, the recording undergoes various stages and degrees of "noise removal" (noise being considered as any given sound, from ground hum to scratching to actual melodic phrases). Additionally Motoko intones various vocal impressions of the process itself. In a sense, this piece can be considered a commentary on the trend of re-releasing historical recordings (such as from acetates or 78's) after modern noise reduction techniques and remastering have been applied.
Read more: Serkin Diabelli Beethoven-17 Noise Removal Process
To hear on Sunday 14 and 21 February 2010,
2 pm - 9 pm:
Clandestine Parts
by Paulina Sundin
Paulina Sundin on "Clandestine Parts":
Clandestine Parts is inspired by the dreams I remember from my childhood. At times, sleep was haunted by vivid nightmares, full of fear and technicolour dread. But ever so often, like a soft whisper drowning out the noise of chanting mob, I was relieved by a purely joyful dream with a happy ending.
To hear on January 31 and February 7 2010, 2 pm - 9 pm:
Berlin_snowed - created for ohrenhoch (Premiere)
by Yan Jun
Yan Jun on "Berlin_snowed":
This piece is based on field recording from the space of ohrenhoch (thanx, Knut!). The environment sounds of my living room/studio covered the ones from ohrenhoch, then feedback by an ipod earphone and build-in microphone of my Edirol R09 recorder. I did this on the next day of the greatest snow in 40 years in Beijing.
ohrenhoch, der Geräuschladen presents
on Sunday January 17 and 24, 2010
the Installation and Performance
Bringing the Outside In
by Johnny Chang and Luke Munn
Installation (2 pm - 9 pm):
A selection of field recordings from Los Angeles, London, Auckland, New York, Berlin, Italy, Hong Kong and Taiwan, produced by Johnny Chang and Luke Munn. As the recordings play, the room on Weichselstraße is sonically relocated to other spaces around the world.
(17. Jan.: Mix by Luke Munn / 24. Jan.: Mix by Johnny Chang)
Performance (in the cellar, 7:30 pm - Entrance 3.- Euro):
A recording of street sound taken from directly outside ohrenhoch is transcribed and performed down in the cellar space, with Chang and Munn playing a selection of small instruments/objects. Audience members are invited to bring along their own objects from the Outside: coins, keys, scraps of paper and other detritus that will be activated acoustically as part of the performance.
Zu hören am Sonntag 3. und 10. Januar 2010, 14:00 - 21:00 Uhr:
lichterleau_8.02 (Deutsche Erstaufführung)
von nörz
Die Komposition lichterleau_8.02 entstand im Zeitraum Februar – Juli 2009. Als Ausgangsmaterial dienten einige Aufnahmen, die wir in Wien ausschließlich in unseren Wohnungen gemacht hatten. “Private“ field recordings von Wasserkochern, Herdplatten, Heizkörpern, Waschmaschinen. Außerdem (ab etwa der Hälfte der Komposition deutlich zu hören) eine Shrutibox, eine Melodika und ein mittels Cellobogen gestrichenes Becken. Die Aufnahmen wurden in Folge teilweise transponiert, ansonsten jedoch nicht weiter verfremdet.
In einem ersten Schritt entstand ein relativ dicht komponiertes Stück von knapp 6 Minuten Länge: lichterleau. Dieses Stück wurde in einem zweiten Schritt mittels Time Stretch um das 8-fache gedehnt: Eine Zeitlupenversion. Punktuelles löst sich in dunkle Flächen auf, Harmonik in reinen Klang. Die Zusammenhänge lösen sich.
Sunday 20 and 27 December 2009, 2 pm - 9 pm:
Two works by Hiromi Ishii:
Summer Grasses (2004) - acousmatic (German Premiere)
Ryum (2008) - Video
Hiromi Ishii on "Ryum":
"Ryum" intends to create a close relationship between visual- and music-part in the sense of gagaku and noh (traditional Japanese music), and their aesthetics. This piece does not include any sudden explosions, or surprising interruptions as they are not the expression ways of gagaku elegance. The subtle changes and slowly floating transformations and percussive sounds which give from time to time accents to the floating phrases are the manner of this piece.
The audio part consists of an accumulation of fragmental sounds of Japanese instruments which have been processed to produce ‘between sounds’ of gagaku and noh.
The visual part was transformed from only one photo. Ryum means “dream stream”.
Sunday 20 and 27 December 2009, 2 pm - 9 pm:
Two works by Hiromi Ishii:
Summer Grasses (2004) - acousmatic (German Premiere)
Ryum (2008) - Video
Hiromi Ishii on "Summer Grasses":
"Summer Grasses" was composed to create an acoustic coexistence of the nature and culture. The material sounds are insects’ sounds and metal noises. The latter has been produced by rubbing and beating knives, and by jingling a metal spiral. The spectral data of the insect sounds have been used for formant filters in order to transform metal sounds. In this music moments of silence called ma - „moments of emptiness”, but high-tensioned silence - of traditional Japanese music, are another important 'acoustic factor' to structure the piece. Hiroshige Ando's print, A Picture of Listening to the Insects, a short haiku by Basho Matsuo (translation below), and an appreciation of Japanese swords produced as art crafts, inspired me to create a fantasy of insects and the metal.
Summer Grasses...
traces of dreams
of ancient warriors
To hear on Sunday 6 and 13 December 2009,
2 pm - 9 pm:
History of the Auto-motive - for ohrenhoch
by Liz Allbee
Liz Allbee on "History of the Auto-motive":
Created for ohrenhoch out of tracks and material from my upcoming album, “Theseus vs.”, History of the Auto-motive is a piece about collisions, unspoken commands and the double meaning of certain codes. It contains a morse code section which repeats a phrase with two different meanings depending on where you enter the loop. The instrumentation is voice, prepared trumpet, short-wave radio, guzheng and various electronics.
The ohrenhoch-Kids present
ohrenhoch ist NOCTURNAL
Saturday 7 November 2009 7 PM until midnight / at the festival NachtundNebel
Sunday 8 and 15 November 2 pm - 9 pm
Saturday 28 / Sunday 29 November 2 pm - 9 pm / at the Adventsparcours
We are happy to present you the new production of the ohrenhoch-Kids "ohrenhoch is NOCTURNAL".
In all the ohrenhoch-rooms, they present their sound-space-installation which they set up themselves, and with the help of pocket flashlights they will accompany both the small and the tall listeners through a dark and fabulous labyrinth of sounds and give them advices.
To hear on Sunday 1 November und 22 November 2009,
2 pm - 9 pm:
Figure in Movement (2005)
by Shintaro Imai
Shintaro Imai on "Figure in Movement":
This electroacoustic piece was developed for electroacoustic system, and was realized at Electronic Music Studio TU Berlin in 2005. The sound materials were processed and organized via a real-time algorithmic sound-generating system based on various granular sampling technique, under the composer’s musical idiom “Sound Creature”. These materials were originally made from sampled flute sound which was performed by flutist Sabine Vogel. The compositional algorithm and sound synthesis programs were all written in Max/MSP. For editing and mastering, ProTools was used as well. The concept of the piece is to draw an imaginary living sound matter and surrounding environment.
Zu hören am Sonntag, 18. und 25. Oktober 2009, 14:00 - 21.00 Uhr:
Der Weg
Ouverture aus dem Werk "Wasserklang - Körausbach" (2009)
von Gunda König und Dieter Kaufmann
Gunda König über "Wasserklang":
Der 370 Meter lange Abschnitt des Bächleins vom ehemaligen „Weidenbrückerl“ über den Steg bis zur südlichen Brücke ist beinahe ein Paradies (wenn auch ein gefährdetes). Dort hält die Seele Zwiesprache jenseits von Wort und Begriff.
Um den Klang des Baches aufnehmen zu können, ist die ideale Jahreszeit der Übergang vom Winter zum Frühling. Da sollte weder Schnee liegen noch raschelndes Laub, damit meine Schritte die Aufnahme nicht stören; da sollten Büsche und Bäume keine Blätter tragen, um möglichst ungehindert ans Wasser heran zu kommen, außerdem führt der Bach im Frühling auch genügend Wasser, um sich in all seiner Klangvielfalt präsentieren zu können.
Dieter Kaufmann, Hintergrund-Reflexionen zu "Wasserklang":
"Schule des Sehens" hatte Oskar Kokoschka seine Salzburger Sommerseminare genannt, "Schule des Hörens" nannte Roman Haubenstock-Ramati die Beschäftigung mit elektroakustischer Musik.
Vielfalt erkennen, anerkennen und fördern, bedeutet offen und unvoreingenommen zu sein.
Hineinhören, hineinhorchen in das beinahe unbegrenzte Angebot an authentischen Klangquellen, das Arbeiten/Komponieren mit und an ihnen könnte – mit offenen Ohren – zu einer bewussteren "Weltanhörung" führen.
Zu hören am Sonntag 4. und 11. Oktober 2009, 14:00 - 21:00 Uhr:
Dérivatif (15. Juli - 30. August 2008) - Abweichung -
aus 93 Tonelementen von Luc Ferrari.
Von Brunhild Ferrari
Brunhild Ferrari über "Dérivatif" (Dauer 27'07''):
diesen Titel gab Luc Ferrari seinem nächsten Stück.
Es war der 12. April 2005.
Gemeinsam hatten wir begonnen, jeweils einen x-beliebigen Ausschnitt aus jedem 13. Tonband seiner Archive für eine neue Komposition zu entnehmen. Das Vorhaben scheiterte kurz darauf. Fast 3 Jahre nach Lucs Tod am 22. August 2005 gelang es mir endlich erneut, seinen Spuren über so viele Schaffensjahre zu folgen. So habe ich mir all dieses Tonmaterial entliehen, um daraus ein „Dérivatif“ auf meine Art zu komponieren; ohne einen einzigen Lucs fremden Ton hinzuzufügen.
Hanna Schygulla schließt das Stück mit einem kurzen Satz aus Luc Ferraris „Labyrinth-Porträt“, Radiokomposition mit dem Text von Colette Fellous.
To hear on Sunday 20 and 27 September 2009, 14:00 - 21:00:
Out the Tomb
by Metalux
Out the Tomb was created for "ohrenhoch, der Geräuschladen".
Metalux on "Out the Tomb":
The piece Out the Tomb uses vintage synthesizers, samplers, tape machines, guitars and analog circuits such at the Tranoe (designed and built by Peter Blasser). The composition is designed to take the listener on a visual journey. Heavy, and gritty stones crumble as the vast tomb is pried opened. Ancient dust evaporates in thin air as metallic relics are exposed to the rays of light.
To hear on Sunday 6 and 13 September 2009,
2 pm - 9 pm:
Focus
by Jean-Claude Risset
Focus is the second movement of the electroacoustic composition "Elementa" by Jean-Claude Risset, commissionned by the French Ministry of Culture for the fiftieth anniversary of musique concrète and realized at INA-GRM (Institut National de l’Audiovisuel - Groupe de Recherches Musicales, Paris (1998).
Jean-Claude Risset on "Focus":
Fire is ambivalent: warm and terrifying, crackling, quick, blazing, consuming and destructive. Atomized sounds, always moving.The wind sets fire in bushes. The crackling excites resonant filters at its own rhythm. The fire grows and seems to flood the flaming vocalizations. At the end, the fire rotates in the direction of the stars - celestial fire balls.
To hear on Sunday 23 and 30 August 2009, 14:00 - 21:00:
A guy kept beating his brother in summer - for ohrenhoch der Geräuschladen (Premiere)
by Tetsuo Furudate
With exhibition of drawings by Tetsuo Furudate
Tetsuo Furudate on "A guy kept beating his brother in summer":
I got an idea of sound by some violent sound immediately when I got the offer to make a loop-sound for "ohrenhoch der Geräuschladen".
There will be full of painful breath and sound of beating repeating unlimitedly.
It seems as if the cry, the beatings, killings, painful breath and/or all of violence have the concrete reason or the logical justice to repeat themselves without limit on the human being.
I think that I'll be able to play this sound only in the summer.
To hear on Sunday 9 and 16 August 2009, 14:00 - 21:00:
And Death... for fixed media (2007)
by Jason Bolte
Jason Bolte on "And Death...":
And Death... is a short work inspired by the poem, “And Death Shall Have No Dominion,” by Dylan Thomas. When I was working on the composition, I was concerned with the relationships between Thomas’ Poem and the music I was composing. I wanted to the composition to be an elaboration on the text, taking the ideas presented and inferred, and infusing them into a sonic realm through text painting and other devices. Many of the sounds that are used in the composition are specifically mentioned in the poem and are a direct connection between the two works. These sounds are also used to capture my interpretation of the poem through concrete usage as well as constructing textures and gestures that are related to the emotional contour of the poem. And Death… was selected as one of three Prize Winners at the 9th Electroacoustic Composition Competition Música Viva 2008 (Portugal).
Zu hören am Sonntag 26. Juli und 2. August 2009, 14:00 - 21:00 Uhr:
Fourmis - Ameisen - Ants (2007)
von Pierre Thoma
Alle Klänge sind ausschliesslich Klänge von Ameisen, die Pierre Thoma aufgenommen hat. Sie wurden nur durch schneiden - kopieren - mischen bearbeitet.
Die am 26. Juli im ohrenhoch präsentierten Stücke von "Fourmis - Ameisen - Ants" wurden mit Hilfe der Wahrscheinlichkeitsrechnung realisiert, unter Anwendung des Gesetzes der grossen Zahlen: ein Ameisenhaufen von mittlerer Grösse beherbergt ungefähr 150´000 Individuen.
Die am 2. August im ohrenhoch präsentierten Stücke von "Fourmis - Ameisen - Ants" wurden durch Zellularautomaten realisiert. Man hat festgestellt, dass komplexe natürliche Phänomene - dies ist der Fall im Verhalten der Ameisen - am Computer als Modell dargestellt werden können mit einfachen mathematischen Vorgehen, die man Zellularautomaten nennt, wo jedes Element mit seiner Umgebung interagiert. Um dies zu illustrieren, kann man sich ein kariertes Papier mit schwarzen und weissen Quadraten vorstellen; wenn zum Beispiel ein Quadrat von mindestens 3 schwarzen Quadraten umgeben ist, wechselt es die Farbe.
Der Komponist dankt Arnaud Maeder, Myrmekologe, für die Erlaubnis der Aufnahme an der Universität von Lausanne.
Sunday 12. and 19. July 2009, 14:00 - 21:00:
Pasajes - Quimera - Sound and Video Installation for the ohrenhoch (Premiere)
by Marisol Jimenez
Marisol Jimenez on "Pasajes - Quimera":
This installation consists of two main parts presented simultaneously in separate spaces – a 16-minute fixed multimedia piece that combines a stream of fragmented video images with electronic sounds, and a 30-minute acousmatic piece that develops the sound world presented in the video. In reference to the title, the first word “pasajes” has a two-fold metaphorical significance. On one hand, it means “fragments” as the visual and sonic elements are presented like shards of a fractured object. On the other it means “passages”, like openings or pathways that connect to a dream state, or “Quimera”. The sounds combine recordings of natural and urban environments with purely digital sounds, as well as several acoustic instruments and objects.
The ohrenhoch-Kids present:
Earthworm City & Mole Garden
Soundpuzzle Installation
Sunday 5 July 2009, 2 pm - 9 pm
at the 11. Art Festival "48 Stunden Neukölln" 2009:
Friday 26 Juni 2009, 7 pm - midnight
Saturday 27 Juni 2009, 2 pm - midnight
Sunday 28 Juni 2009, 2 pm - 7 pm
"ohrenhoch, der Geräuschladen" takes advantage of the Art Festivals in Berlin-Neukoelln to present to the public audibly and visually the projects and, specifically, the processes of the ohrenhoch-Kids. This kind of events comply with their ideas and requests exclusively.
Ausgangspunkt für "Regenwurmstadt & Maulwurfgarten" war das Thema "Humus" des diesjährigen Festivals 48 Stunden Neukölln. Es gab im Verlauf die unterschiedlichsten Ideen, es fand unter den ohrenhoch-Kids ein lebhafter und phantasievoller Prozess statt, der sich thematisch in unterschiedlichsten Richtungen entwickelte und zu dem Titel führte: "Regenwurmstadt & Maulwurfgarten"
To hear on Sunday 14 and 21 June 2009, 2 pm - 9 pm:
Rehoiyo
by Relmic Statute
Relmic Statute on "Rehoiyo":
The track rehoiyo was made in 2008 with the idea of using sound sources of urban,natural and live instrumentation to form the raw audio material of the track then to system's like alphabetic junction,rain melody,tapelooping,tape manipulation,pitch axis theory to create an organic collage of sounds.
To hear on Sunday 31 May and 7 June 2009, 2 pm - 9 pm:
Bullet Train Ballad No.1
by Antti Sakari Saario
Antti Sakari Saario on "Bullet Train Ballad No.1":
Fleeting transients and multiple stratas of time and perspective - the observed and the observer - bullet train and the stone garden - paradoxes in motion.
Zu hören am Sonntag 17. und 24. Mai 2009, 14:00 - 21:00 Uhr:
"Walking with Ghosts
by Lisa Whistlecroft
Lisa Whistlecroft on "Walking with Ghosts":
"Walking with Ghosts" started life as a soundscape to accompany a reading of "Mourning Walk", a landscape text by writer Carl Lavery. Its structure and timing are derived from the text, and the sound materials were chosen to reflect particular aspects of the story told in the text. As it developed, it grew away from the text until the two pieces became separate, though closely related. Now it tells its own story - and invites all listeners to create their own imaginary narrative and scenes as they listen.
ohrenhoch der Geräuschladen presents
on Sunday 3 and 10 May 2009, 2 pm - 9 pm:
IRREPRESSIBLE - specially made for ohrenhoch (Premiere)
by Zbigniew Karkowski
and Antoine Chessex
WITH EXHIBITION OF THE SONOGRAM
The piece presented at ohrenhoch is the first collaboration between Karkowski and Chessex.
Raw material (heavily treated saxophone sounds) has been sent from Berlin to Tokyo, recomposed there and then mixed and mastered in the U.S by Karkowski in march 2009.
To hear on Sunday 26 April 2009, 2 pm - 8 pm:
Unter Wasser Variation #3 - specially created for ohrenhoch (Premiere)
by Hans Grüsel
Hans Grüsel on "Unter Wasser Variation #3":
A continuous loop created for ohrenhoch out of materials from the Krankenkabinet album “Happy as Pitch”. The work is constructed from a series a water derived sounds; guitar, xylophone, tree branches, low brass and an empty accordion case; all manipulated through various pieces of electronic equipment. Imagery may suggest an underwater dive into a murky lagoon with wreckage.
To hear on Sunday 19 April 2009, 2 pm - 9 pm:
Blooded Doors - specially created for ohrenhoch (Premiere)
by Hans Grüsel
Hans Grüsel on "Blooded Doors":
A continuous loop created special for ohrenhoch out of materials form the Krankenkabinet album “Blaue Blooded Türen”. The majority of material was played on a customized modular synthesizer and orchestrated together with xylophone, woodblocks, trumpet, harmonica and field recordings manipulated through a variety of electronic devices.
ohrenhoch der Geräuschladen presents
on Sunday 5 April and Easter Sunday 12 April 2009, 2 pm - 9 pm:
smell of growing hair
Soundloop and installation
by Nobuko Hori
Assistant: Kyoka
Nobuko Hori on "smell of growing hair":
A sound and small visual installation inspired by my old tapes from my childhood.
My inspirations always come from my memory of childhood.
Like smell, sounds, light, and feel.
They appear suddenly and disappear in my daily life.
I caught those memory fairies and put in to a bottle, mixed them.
I would like to people to touch them and leave their memories in this work.
Sunday 29. March 2009, 2 pm - 9 pm:
NACHTTROPFENDRACHE (NIGHTDRIPSDRAGON)
Sound installation by Knut Remond with children of Berlin-Neukölln
A mysterious transport box was delivered to ohrenhoch. Sender unknown. Dear visitors, only one thing is certain: The Nachttropfendrache transport box can’t be opened, or else...
To hear on
Friday 20. March 2009 5 pm - 9 pm --- In the context of 'Frühlingserwachen' at Reuterkiez
Saturday 21. March 2009 5 pm - 9 pm --- In the context of 'Frühlingserwachen' at Reuterkiez
Sunday 22. March 2009 2 pm - 9 pm
Cross Country Runner
by Rick Nance
Cross Country Runner explores the sound world of a single runner along the canals and fields of an English landscape. The sounds can be interpreted as signifying the runner's shift in focus between his internal state and the world around him. The sonic transformations from fields and bridges towards blood and breath serve as transport into a physical self awareness, and culminate at a "transcendent" singularity with runner and environment.
To hear on Sunday 15. March 2009, 2 pm - 9 pm:
Gravity's
by Rick Nance
Rick Nance on "Gravity's":
Several ‘verité’ recordings of different climbs were combined to create one ideal sequence which were gathered with studio recordings of gear. All of the recorded climbs were strained and tense. My climbing is tenuous and edgy work (at best!). Relaxation is rare. The visceral aspect of the climbing scene is accentuated by using the sound of 'the climber' (myself) pulling up the cliff face and labored breathing as a template against which different processed and natural sounds are matched and contrasted. Although much of that template is removed or mixed into the background, the physical and emotional tension of the climb remains.
To hear on Sunday March 1 and 8, 2009, 2 pm - 9 pm:
Alpha
by Jo Thomas
With exhibition of the Scores
Jo Thomas on 'Alpha':
The electronic work Alpha was composed using highly processed male and female voice together with synthetic sounds from the computer.
The Scores available for view are made from tracing paper, red Ink, blood and gold leaf. The media used is to represent the transparent and extreme musical world that electronic sound occupies.
To hear on Sunday February 15, 2009, 2 pm - 9 pm:
BEGYNNEL
by Ingvar Loco Nordin
Ingvar Loco Nordin on BEGYNNEL:
In this piece I have used a very charged and extremely wellknown text; the first phrases of The Gospel of John in the Bible: “In the beginning was the Word, and the Word was with God, and the Word was God. He was with God in the beginning. Through him all things were made; without him nothing was made that has been made.” I have superimposed this text, treated in various ways, on the voice of my friend, the vocal artist Hebriana Alainentalo. My aim was to play and dance – electroacoustically – with some historically charged words.
The title is part of an old Swedish word for Beginning: Begynnelse.
To hear on Sunday February 15, 2009 14:00 - 21:00:
LITEMERKAFFE
by Ingvar Loco Nordin
Ingvar Loco Nordin on LITEMERKAFFE:
The voices are my father Helge (1904 – 1992) and my mother Viola (1911 – 2007), cut from some interviews I did with them in 1989 and 1990. The other sounds stem from close surroundings, like the squeaking door of my Son Ivan’s room, a carpenter working outside the house, a bottle that I blow into, a glass used as a percussive instrument, the water slurping into the sink and so forth.
The title needs an explanation: I did a number of short textsound works, akin to this one. In one of them I took part with my own voice, asking my parents if they wanted some coffee (at one of the interviews). I called that piece Lite Kaffe (Some Coffee). When I made a variation of this piece I called it Lite Mer Kaffe (Some More Coffee) – and that is this piece, with the words pulled together, into LITEMERKAFFE (SOMEMORECOFFEE).
Zu hören am Sonntag 1. und 8. Februar 2009, 14:00 - 21:00 Uhr:
'Passage' (2008)
von Seiji Morimoto
Im ohrenhoch ist die Aufnahme der Performance-Version von der Installation 'Passage' zu hören.
Radio / Steine / Sand / Plastikdeckel / Piezo-Mikrofone.
Ein Radio sendet weißes Rauschen zur Mitte des Steinhaufens, der während der Performance gebaut wird.
Das Rauschen passiert durch die Steine. Jeder Stein hat einen eigenen Nachhall wie seine Figur und Farbe.
Die unterschiedlichen Nachhalle wurden an 4 Stellen aufgenommen.
Manchmal fängt ein Stein an zu vibrieren.
Im ohrenhoch-Keller:
'The Study of Light' (2005)
Video Installation
Ohne Ton, Farbe / 15'00'' (Loop)
von Seiji Morimoto
In einem dunklen Zimmer sucht die Videokamera mit dem Autofokus-mode nach dem Fokus.
Das Bild bewegt sich und spielt, zwischen der Technologie und der zufälligen Helligkeit.
ohrenhoch presents on Sunday January 18 and 25, 2009
2 pm - 9 pm the Video and Soundtrack 'Obsessions in Red' by Sharkiface
Obsessions in Red
by Sharkiface
Presentation concept: Knut Remond
'Obsessions in Red' is presented in the cellar as a video loop. In addition, in the ohrenhoch-store the soundtrack of the video is presented, as a loop as well.
I tried to configure an obsession or maybe beauty in a way that one is encircled by it and soaked with it -
namely through the soundtrack that is shifted in the store and the cellar, not playing synchronously, different also in sound dynamics and acoustic color, while in the cellar, the video is projected on the wall.
Knut Remond 18.1.09
To hear on Sunday January 4 and 11, 2009, 2 pm - 9 pm:
Audio Combine
by John Bischoff
"Audio Combine" is a solo electro-acoustic work for sound-making objects and laptop. As the objects are activated, the resulting sounds are amplified, processed, and recycled in fragmented form based on the timing patterns of their initial occurrence. As more sounds are made, more layers of fragmentation are generated on top of one another. One can think of the piece as the real-time construction of a sonic collage which is different each performance because the performer's timing and interaction with the objects is always different.
ohrenhoch, der Geräuschladen presents 2 pieces by Fergal Dowling.
On December 21st "In the Mean Time" and on Sunday December 28th "Falls".
To hear on Sunday December 28, 2008 2 pm - 9 pm:
Falls
by Fergal Dowling
'Falls' is a sample-based composition rendered entirely from the sounds of falling water recorded from public fountains in France and Germany. Falls was originally devised as an installation for continuously looped playback in an elongated enclosed space, such as a large stairwell or gallery corridor, but has also been performed in concert with the loudspeakers arranged both to the front and the rear of the audience.
'Falls' was composed using computer-based algorithms to define two concurrent streams of events which progress at varying rates. These rapid event streams produce a dense granular synthesis which then slows to reveal itself as a succession of explosions and ricochets. The actual rendering of the sampled sound source recordings was executed through virtual sound processing instruments.
To hear on Sunday December 21, 2008
2 pm - 9 pm:
In the Mean Time
by Fergal Dowling
Fergal Dowling on 'In the Mean Time':
'In the Mean Time' was written on the theme of ‘Limbo’. What interested me in this concept was the idea of limbo as a non-place, that is a place defined more so by what it is not, rather than what it is; an in between place, a space outside space. The English phrase, ‘in the mean time’, likewise refers to some indefinite time span, defined by the events outside that time, rather than how the time itself is spent.
With 'In the Mean Time' I wanted to use that ambiguous range of frequencies which fall in between the slower-rate frequencies which we perceive as rhythms, and the faster frequencies which we perceive as pitches; in other words, a range of frequencies in the audio spectrum which we define by how we don’t perceive them, rather than how we do perceive them. 'In the Mean Time' uses a very slow progression of stacked sine waves whose fundamental frequencies fall within this ambiguous range. The result is a slowly evolving progression, devoid of rhythm and consisting of overlapping and intermeshing sine waves, whose perceived frequencies seems to alter with our movements in the space in front of the loudspeakers.
Eine Live-Präsentation mit den ohrenhoch-Kids aus Berlin-Neukölln
Samstag 13.12.08, 14:00 - 23:00 Uhr - im Rahmen des 'Adventsparcours'
Sonntag 14.12.08, 14:00 - 21:00 Uhr
In 6 Live-Acts fährt man mit den "ohronauten" live durch die elektrischen Geräuschgalaxien
Samstag 13.12.08 15-minütige Live-Acts: 15:30, 16:30, 19:30, 20:30 Uhr
Sonntag 14.12.08 15-minütige Live-Acts: 15:30, 16:30 Uhr
Zwischen den Live-Acts wird über die ohrenhoch-Lautsprecherinstallation "Die Reise durch die elektrischen Geräuschgalaxien" präsentiert.
Mehr Informationen zu den OHRONAUTEN findet man hier: ohrenhoch - ohronauten
To hear on Sunday November 30 and December 7, 2008
2 pm - 9 pm:
Kitchen Alchemy
by Manuella Blackburn
Manuella Blackburn on 'Kitchen Alchemy':
While composing this piece, I began to think of the analogy of alchemy and its applicability to the compositional process of acousmatic music. I wanted to create something seemingly precious and elaborate that showed no similarity to the ordinary source sounds of kitchen utensils and appliances.
ohrenhoch der Geräuschladen and tutorialdiversions.org present
on Sunday November 16 and 23, 2008 14:00 - 21:00:
Home Setup Showroom
with
2 Room Test Pattern
by Bill Dietz
'Home Setup' is an open archive of home stereo system setups and a modular databank for combined use with other "Tutorial Diversions".
Submit your "Home Setup" for others to download and use at home and download other "Home Setups" for your own home use.
ohrenhoch, der Geräuschladen presents:
Saturday November 1st 2008, 7 pm till midnight - in the context of the Festival "NachtundNebel"
Sunday November 2nd 2008, 2 pm till 9 pm
Sunday November 9th 2008, 2 pm till 9 pm - Last opportunity! Rumour has it the shipping box will be picked up in order to continue its world trip...
NACHTTROPFENDRACHE
Sound installation by Knut Remond together with children in Berlin-Neukölln.
In the evening of November 1st 2008, a mysterious shipping box with a nightdripsdragon inside was delivered at ohrenhoch. Sender unknown. But one thing is pretty sure, dear visitors of ohrenhoch: The shipping box with the nightdripsdragon inside must not be opened, otherwise...
More information at ohrenhoch Kids - Nachttropfendrache
ohrenhoch, der Geräuschladen presents
on Saturday October 25, 2008, 7 pm till midnight
and Sunday October 26, 2008, 2 pm - 9 pm
'Gummibärchen mit Gekritzel'
by Knut Remond
A reflecting soundloop rotates ovally around your head.
The next day you wake up with compound eyes.
Created by Knut Remond
for Weserrakete 25.10.08
Zu hören am Sonntag 12. und 19. Oktober 2008, 14:00 - 21:00 Uhr:
'plugged'
Klanginstallation
5 Steckdosenobjekte
von Ute Safrin
Verschiedene Objekte, die ich auf dem Flohmarkt gefunden habe, wurden an Steckern in Steckdosen befestigt. Sie dienen als Resonanzkörper für eingebaute Lautsprecher. Man hört leise Klänge, die von einem Objekt zum anderen wandern.
Meine Klanginstallationen werden für bestimmte Räume/Orte entwickelt, passen sich den Räumen an. Sie verbinden optische und akustische Anteile der Installation.
Ich bringe unterschiedliche Materialien zum Klingen (Metall, Glas, Leder, Kunststoff u. a.). Die Objekte, die ich in meine Installationen einbaue, dienen als Resonanzkörper oder wirken wie eine Lautsprecher-Membran.
Die elektronischen Klänge werden am Computer mit dem Programm C-Sound produziert. Sie werden über eingebaute Lautsprecher/Tieffrequenzlautsprecher abgespielt und erhalten ihre Klangfarbe durch das Material des Objektes.
To hear on Sunday September 28 and October 5, 2008, 2 pm till 9 pm:
Clear Dawn: Meditations from Paparoa and Kapiti Island
by Sarah Peebles
Sarah Peebles on 'Clear Dawn':
'Clear Dawn' was inspired by my experiences recording birds in Aotearoa/New Zealand 2004-2005, and in coming together with a wide variety of people whom I met along the way. A traditional Mäori (indigenous peoples) concept shared with me by Gary Millan in Paraparaumu - near Kapiti Island, one of the recording sites - seemed to reflect the essence of my experience while spending focused, long periods of time on the land while recording or in just being. It roughly translates into English as 'that which is just beyond our perception'. This idea is a part of The Mäori legend identifying three concepts of knowledge contained in Ngä kete o te Wänanga (Baskets of Knowledge). According to the legend, the first basket contains ritual chants and prayers, the second basket contains all practical knowledge, and the third basket contains the sources of good and evil. 'That which is just beyond our perception' is a concept from the 3rd Basket. As I explored and transformed my field recordings into new sonic expressions, I was inspired by this concept and also by the poems 'The Long Dream of Waking' and 'A Short Dream of Knowing', penned in 1948 by New Zealand artist Leonard Charles Huia Lye.
Read more: Clear Dawn: Meditations from Paparoa and Kapiti Island
To hear on Sunday 14 and 21 September 2008, 2 pm till 9 pm:
No Defects
Subviola - David W. Halsell and Hilmar Bjarnason
Subviola is a sound art collaboration exploring the intersections and boundaries of culture, noise, and place. For their initial project, No Defects, the duo of Bjarnason and Halsell manipulate field recordings from urban and rural spaces of the American Midwest. Railroad locomotives, country meadows, industrial spaces, and Appalachian folk musicians are transformed into washes of protracted and convolving sounds punctuated by disjointed rhythms and vocalizations. This tense and disorienting work reflects the artists' experiences while living in the economically depressed post-industrial "rust belt" and evokes the widespread disillusion in the myths of American industrial and social history. The title comes from the most common of radio messages in the automated system of status reports of railroad lines.
At the same time in the ohrenhoch-cellar:
Homily for Swelling Kennels
Single channel video loop by David W. Halsell
'Territorium - Yellow Zone'
von Natalia Pschenitschnikova
Eröffnung: Samstag 30. August 18:00 - 21:00 Uhr
Sonntag 31. August 14:00 - 21:00 Uhr
Samstag/Sonntag 6./7. September 14:00 - 21:00 Uhr
Zu hören am 17. und 24. August 08 ab 14:00 Uhr:
'Seewetter 69'
von Sven-Åke Johansson
Sven-Åke Johansson über das Hörstück 'Seewetter 69':
Der tägliche spätabends ausgestrahlte Seewetterbericht auf NDR von 1969 brachte viel poetisches aus den realen Gefahren für das Seevolk.
Es waren hauptsächlich die Seewarnnachrichten, die in ihrer langsam, gewichtig vorgetragenen zum mitschreiben gedachten Form, auch zufällig gereimtes hervorbrachten.
Das Stück Seewetter - 69 ist ein Ausschnitt aus mehreren Stunden auf Band aufgenommenes Material, das von dem schlechten Empfang ein zusätzliches Couleur des "Ausgesetztseins" bekommt.
Zu hören am Sonntag 3. und 10. August 08 ab 14:00 Uhr:
'Klangbuch der imaginären Wesen' - ohrenhoch Mix
von Mario Verandi
Mit seinem 'Buch der imaginären Wesen' schuf Jorge Luis Borges ein Handbuch zoologischer Fabelwesen, die die Fantasie der Menschen aller Jahrhunderte beschäftigt haben: von Drachen und Einhorn, von Salamander, Mandragora und Greif bis zum Basilisk und Hydra ist alles vertreten, was sich nur erträumen lässt.
Sunday
July 13th, 20th and 27th 2008
from 2 pm till 9pm
'The Big Frisco Soundloop'
8 Sound Artists from San Francisco united in one big Soundloop.
Amphibious Gestures, Hans Grüsel’s Krankenkabinet, Head Boggle,
irr. app. (ext.), Ozmadawn, Rubber (0) Cement, Sharkiface, skozey fetisch.
EXHIBITION OF THE NOISE SKETCHES.
Idea and concept: Knut Remond in cooperation with Mark C. Jackman.
Freitag - Sonntag 27. - 29.6 und 4. - 6.7.08
jeweils 14:00 - 19:00 Uhr
Vernissage: Freitag 27.6. um 18:00 Uhr
'ZEITFRESSER'
Something that takes a lot of time and distracts you from other things you should be doing.
Transmediale Ausstellung von
Nora Adwan, Shohreh Jandaghian, Zara Morris mit Sarah Yates.
To hear on Sunday June 15th 2008 from 2 pm:
'Resonant Quarks'
by Shintaro Imai
Shintaro Imai über 'Resonant Quarks':
Dieses elektroakustische Stück wurde 1998 mit einem NeXT-Computer und der 'IRCAM Signal Processing Workstation' am Fachbereich 'Sonologie' des Kunitachi College of Music (Tokyo) realisiert. Für Kompositionsalgorithmen, Klangsynthese und Abmischung wurde die Software 'Max' verwendet. Für den Komponisten war es das erste Experiment in der Entwicklung seiner typischen 'Sound Creatures', unter Verwendung mikroskopischer Klangpartikel. Als musikalisches Material dienten in der Hauptsache vier Stimm- und Instrumentalklänge von jeweils nur einer Sekunde Dauer. Durch die Klangverarbeitung vermittels Granularsynthese verändern sie - sprunghaft oder allmählich - ihre Klangfarben und ihre Positionen im Raum, so als wären sie Lebewesen.
Zu hören am Sonntag 1. und 8. Juni 08 ab 14:00 Uhr:
'BETON'
von Katharina Klement
Mit Ausstellung der Partituren
Ausstellungskonzept und -gestaltung: Knut Remond
Katharina Klement über "BETON":
"Klangtransformation - insbesondere Klangtransformation mit elektronischen Mitteln - ist Arbeit mit einem mehrdimensionalen Phänomen und mit plastischer Arbeit vergleichbar."
Zu hören am Sonntag 18. und 25. Mai 08 ab 14:00 Uhr:
'Paganini on the Beach'
von Mia Zabelka
Mia Zabelka über 'Paganini on the Beach':
Mia Zabelka - E-Violin, Live-Electronics / Still - Sound Architecture, Voice, Turntables, Live-Electronics.
Mia Zabelka und Still treten miteinander in Dialog. Mia Zabelkas Musik erforscht den Raum zwischen Körper, Gestik und Klang. Sie verwendet die elektronische Geige als Interface zwischen Akustik und Elektronik. Still's Soundscape schafft eine neue Dimensionalität - Mit Stimme, Turntables, Live-Elektronik und einer virtuellen Matrix verwandelt er jeden Lautsprecher in ein Sonic Fragment im Raum. Es handelt sich um eine elektroakustische Studie über die Langsamkeit bzw. Unendlichkeit der Zeit. Bei der Präsentation im ohrenhoch in Berlin-Neukölln auf der speziellen Lautsprecherinstallation wird eine 2-Kanal-Mischung des Werkes wiedergegeben.
Donnerstag 8. Mai 08:
VERSCHÜTTET
im 20. jahrhundert einer frau
bewusst unbewusst unterbewusst
in einem keller
ein komponist
und sie
Szenen-Collage
Idee und Konzeption: Anke Rauthmann, Annette Strasser, Alexis Pope
in Zusammenarbeit mit ohrenhoch
Spiel: Annette Strasser, Alexis Pope
Komposition: Alexis Pope
Regie: Anke Rauthmann
Assistenz: Hila Golan
Donnerstag 15. Mai 2008 um 21:00 Uhr
Eintritt frei, Kollekte
Zu hören am Sonntag 4. und 11. Mai 08 ab 14:00 Uhr:
'Die Stille'
von Tanja Hemm
umgesetzt und interpretiert von Knut Remond
Tanja Hemm über 'Die Stille': Dem 'ohrenhoch' schenke ich am ersten und zweiten Sonntag im Mai mein Konzept 'Die Stille'. Die Stille ist ein scheues Wesen, das sich in einem Raum (im ohrenhoch) hörbar macht, wenn es in diesem ganz still geworden ist. Dann beschenkt die Stille die Gäste mit einem Geräusch, einem Gedicht, einem Text oder einem Rätsel. Umgesetzt und interpretiert wird das Konzept von Knut Remond.
Zu hören am Sonntag, 20. und 27. April 08 ab 14:00 Uhr:
Thomas Gerwin
O h r e n h o c h - S p e z i a l - M i x
1. KlangWelten-Akzent (2003) 0:37 min.
Anfangsakzent der "KlangWelten HörZeit-SpielRaum"-Konzerte
2. Feuer-Werk 17 (2003/5) 12:43 min.
Re-Mix der längeren, nur aus Feuerklängen komponierten 5.1-Fassung
3. corrente ... b (2006) 5:57 min.
Nur aus Wasserklängen komponiert für das Bourges-Festival 2006
4.-8. weit und breit (2006)
Musique concrète für Akkordeon, Saxophon und Harfe
4. Allegro 3:23 min.
5. Presto 3:38 min.
6. Allegro ma non troppo 1:09 min.
7. Moderato 2:14 min.
8. Vivace 5:32 min.
9. Computer Music-REMIX (2004/2005) 14:50 min.
Re-Mix der längeren nur aus den Klängen eines arbeitenden Computers
komponierten 5.1.Fassung
10. Fontaine de Vaucluse - Miniatur (2001/02) 4:06 min.
Superkurzer Re-Mix der Musik zum Film "Fontaine de Vaucluse" von
Wolfgang Lehmann und Florian Krautkraemer für den Sampler der
Canadian Electroacoustic Community 2002
Gesamt 55:00 min.
Produktion: inter art project + X
Zu hören am Sonntag, 6. und 13. April 08 ab 14:00 Uhr:
"Stella's Stockpot Breakup"
von Knut Remond
Soundtrack vom 29.3.08
Knut Remond über seinen Soundtrack "Stella's Stockpot Breakup":
Es sind Tonaufnahmen von Stellas Suppentopf, es ist eine innere Untersuchung von einem runden metallischen Klangobjekt. Die Grösse, Volumen des Metall-Koch-Suppentopfes ist: 30x27 cm, Deckelhöhe: 4,5 cm. Mit architektonischem Ohr tippt sich Stella hinein in den Suppentopf mit Deckel. Ein Sample Patchwork von Schnittmustern. Stella phantasiert zu sich selbst: Mache ich jetzt ein tönendes Readymade? Toll, ich präsentiere im Geräuschladen, ohrenhoch einen Suppentopf, der endlich wie ein Perpetuum-Mobile-Alpaufzug schwingt, statt Löffelrühren in der blubbernden Kartoffelsuppe. Ihre lindengrünlackierten Fingernägel formt sich Stella in ein 'Sound(ing) Environmental Sculpture'.
Zu hören am Sonntag, 16. und 23. März 08 ab 14:00 Uhr:
'Eugene Is Down' - ohrenhoch Version
von Manuel Liebeskind
Soundtrack vom 14.3.08
Manuel Liebeskind über seinen Soundtrack 'Eugene Is Down':
'Eugene Is Down' ist im Februar 2008 in seiner ersten Version als Intro-Stück für Lesungen des Schriftstellers, Journalisten und Sängers Eugene S. Robinson entstanden. Die Komposition, die ich als "Soundtrack" bezeichne, benutzt als Grundmaterial überwiegend Stimmsamples und Stimmfragmente Robinsons. Die Stimmelemente sind zu komplexen Sequenzen verwoben und elektronisch manipuliert. Heraus kommt eine Art - zwischen beängstigend und erbauend hin und her fliessender - elektronischer Männerchor, der die Diskrepanz von Selbsteinschätzung, innerem Fühlen und dem sich nach aussen geben, oder den Moment vor der Begegnung mit einer herannahenden, noch völlig unbekannten Person akustisch illustriert.
Mit besonderem Dank an das Studio für Elektroakustische Musik der Akademie der Künste Berlin
Zu hören am Sonntag 24. Feb. / 2. und 9. März 08:
"Rot ist dein Mund" von Fritz Mahler, komponiert am 24.2.08 für ohrenhoch, der Geräuschladen
Fritz Mahler über seinen Track "Rot ist dein Mund":
Die unzähligen Verzweigungen und Verschachtelungen von fliessenden aber auch abrupten gegenläufigen Rhythmen und Geräuschen sind kurze Momente von einem Wirrwarr verfranselter schriller Geräusche-Clusters, die besonders in der afrikanischen Metropole Kinshasa tagtäglich wie Schlingpflanzen sich spiralförmig um den Körper drehen.
am Sonntag 17. Februar ab 14:00 Uhr
letzte Gelegenheit um nochmals das ofenfrische
"Funk in die Montrealer Hunde Ohren" von Knut Remond
zu hören.
mit kleiner alkoholfreier Bar.