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 , 2pm - 9pm:. Years after the end of the Croatian war of Independence , 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? Croats and Serbs live nose to nose in the same apartments building, but in two different Vukovars.
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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. 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. 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. 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. 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. 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 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 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.
Tina Pearson is a composer, performer and facilitator in new music, sound art, and networked performance. Since , Pearson has worked in projects that investigate notions of culture, perception, identity and place, and the relationships between creator, environment, performer and witness-participant.
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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 , she has explored telematic performance in audio and 3-D networked platforms, and since she has engaged in an ongoing project called Biospheric Art Practice, which questions artistic contexts in relation to the non-human environment.
Pearson was editor of the Canadian periodical Musicworks initiating its audio component in Website Tina Pearson. There is a certain memory of a busride in 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.
Catherine L. Moore
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?
Pickup, the ride and dropoff
Idea: Knut Remond. Ltd Edition audio cassette, 8 copies numbered. Elisabeth Schimana short biography Since the s 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. 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.
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. Duration: 55'.
05.02. – 20.03.2011
The live act concept of ohrenhoch is named 'Handbag Electronics': the equipment must fit into a handbag size 30 x 30 x 10 cm. 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.
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More specifically, the work functions as a 'poetic' simulation of two themes presented in parallel ; a. You have little ears; you have my ears: Put a clever word in them! I am your labyrinth Kornelia Bruggmann singt und reflektiert mit Klavier die fragenden Aufrufe von soundactivism Statements aufgenommen. Knut Remond hat die Aufnahme bearbeitet bzw. Es ist eine Gemeinschaftskomposition. Lotet die Stimme bis an ihre Grenzen aus. Knut Remond Soundaktivist, Komponist, Performer. Mixed Media, hardcore, imagineering portable set, human science sound. 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. Can art produce knowledge? What kind of knowledge? Knowing versus implementing? Thinking versus acting?
Are they well-behaved recipients of structural ritualized sound ideologies or aesthetics, deaf to diversity? Does the sound or do the delicate voices disappear? Consequence Do we have to destroy efficiency? Accent s Sound Courage Ecstasy How do we want to live? Does the internet overcome space?
Full of contemporary. How do I define femininity? Does women's speech need to be arrogant? 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. Gec, Stones and Wilson are based in the UK, and have been working collaboratively since They each also have individual practices, together encompassing gallery and site-specific art, academic research, writing and music.
More information: www. He has worked as an artist since , 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 individual work is archived at www. His collaborative work with Frances Hegarty is at www.
Louise K. Wilson was born in Aldershot, England. She has worked as an artist since Her installations, live events, sound and video works often involve the participation of individuals from industry, museums, medicine and the scientific community. Her individual work is archived at www. Stefan Gec was born in Huddersfield in , 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.
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