Stu­dent Works  /  Master

SoundS Master Exhibit 24

public exhibition

30 May — 2 June 2024

Pho­tos © Kathrin Scheidt

30 May – 2 June 2024
Col­legium Hun­gar­icum Berlin
Dorotheen­straße 12
10117 Berlin

 

This semes­ter’s fin­ish­ing class of Sound Stud­ies and Son­ic Arts exhib­it­ed their master’s works on 30 May — 2 June 2024 at the Col­legium Hun­gar­icum Berlin.

AnaRosa

Viaje à la Dimensión Azul

 

Through this fic­tion­al nar­ra­tion, the ambigu­ous moti­va­tions behind the cre­ation of indige­nous sound archives are approached in all of their com­plex­i­ty. As she jour­neys through the dis­tant island “Azul”, the main char­ac­ter encoun­ters sit­u­a­tions that con­front her to the colo­nial struc­ture that sup­ports her own prac­tice, oppos­ing the for­eign ide­al of preser­va­tion. The sound sto­ry incor­po­rates anony­mous songs from the Mapuche indige­nous com­mu­ni­ty, record­ed in 1940 by Isabel Artez. Fanzine, audio­book

 

2 June⌇6 PM⌇Panel Talk with Mar­i­ano Rosales

Pho­to © Kathrin Scheidt

Jane Arnison

Space for what is, for what
will become, place.

 

An acti­vat­ed performance/installation, a suite of pieces explor­ing dif­fer­ent ele­ments of col­lec­tive pow­er. A sto­ry-less sto­ry that is made as it is told. An oppor­tu­ni­ty for col­lec­tive expe­ri­ences as well as indi­vid­ual con­tem-pla­tion. mul­ti­chan­nel, acti­vat­ed installation/performance(s)

 

1 June⌇3+5+7 PM

Pho­to © Kathrin Scheidt

Santiago Burelli

EXTRACTING SONORO_
MATERIAL

 

cast met­als, anachro­nis­tic elec­tron­ic com­po­nents, neon, sound sys­tem :: exper­i­men­ta­tion in the soni­fi­ca­tion of the extrac­tivist process. Sculp­ture

Pho­to © Kathrin Scheidt

Mariana Carvalho

the melter of limbs (now again)
stirs me

 

the melter of limbs (now again) stirs me // my eyes can’t dif­fer­en­ti­ate them­selves from the things they see // when I look at you part of me is gone // two are not one // but we were look­ing at each oth­er // why is see­ing such dis­or­ga­ni­za­tion ? Instal­la­tion

Pho­to © KMRU

Varoujan Chetirian

The distance between

 

The dis­tance between is based on research­es made in a mas­sif aban­doned space com­plex in the Armen­ian moun­tains. Once direct­ed towards the cos­mos, the tele­scopes are now echo­ing the sounds of the birds liv­ing around. This lost indus­tri­al and sci­en­tif­ic func­tion­al­i­ty, replaced by a mir­ror of our ter­res­tri­al life offers a merg­ing of the phys­i­cal but also cul­tur­al, son­ic per­cep­tion of space-time. Installation

Pho­to © Kathrin Scheidt

Hayden Dean

Ten More Seconds

 

In a time of accel­er­at­ed com­mu­ni­ca­tion and dis­trac­tion, it can be hard to tell when and where ideas are plant­ed, lead­ing to a ques­tion of whose voic­es we inhab­it and how much we align with them.

“Ten More Sec­onds” is a per­for­mance that plays with the ideas of knowl­edge acqui­si­tion. It reflects on how speech, espe­cial­ly when heard from an author­i­ta­tive posi­tion, even­tu­al­ly morphs and becomes our own thoughts and ideas.

Mir­ror­ing every­day media, infor­ma­tion mutates into a blend of words, wash­ing the spec­ta­tor with phras­es that form a med­i­ta­tion on social pow­er and our own cred­i­bil­i­ty. Per­for­mance

Pho­to © Kathrin Scheidt

 Pho­to ©Kathrin Scheidt

Pho­to © Kathrin Scheidt

Pho­to © Kathrin Scheidt

Hayden Dean

Ten More Seconds

 

In a time of accel­er­at­ed com­mu­ni­ca­tion and dis­trac­tion, it can be hard to tell when and where ideas are plant­ed, lead­ing to a ques­tion of whose voic­es we inhab­it and how much we align with them.
“Ten More Sec­onds” is a per­for­mance that plays with the ideas of knowl­edge acqui­si­tion. It reflects on how speech, espe­cial­ly when heard from an author­i­ta­tive posi­tion, even­tu­al­ly morphs and becomes our own thoughts and ideas.
Mir­ror­ing every­day media, infor­ma­tion mutates into a blend of words, wash­ing the spec­ta­tor with phras­es that form a med­i­ta­tion on social pow­er and our own cred­i­bil­i­ty. Per­for­mance

Torge Goderstad

Sirens In The Fog

 

The func­tion of the fog horn is explic­it­ly linked to the loss of per­cep­tion with­in the fog. It is tied to uncer­tain­ty, act­ing as an ambigu­ous guide to those try­ing to nav­i­gate to safe har­bour. Using this rela­tion­ship between the sym­bol of the fog horn and uncer­tain­ty as a start­ing point, my low fre­quen­cy fog horns aim to illic­it inward reflec­tion on feel­ings of uncer­tain­ty with­in the indi­vid­ual. Sculp­tur­al Installation

Pho­to © Kathrin Scheidt

Vilte Gustyte

Moments in Flux in A Room

 

A gallery room where a con­tin­u­ous stream of sounds is orig­i­nat­ing from var­i­ous loca­tions in Berlin, fos­ter­ing a med­i­ta­tive con­tem­pla­tion on time, space, and the present. The inter­weav­ing of sounds from diverse loca­tions encour­ages lis­ten­ers to con­struct an imag­i­na­tive son­ic realm that invites explo­ration of poten­tial audi­to­ry worlds, hear­ing their own imag­i­nary geog­ra­phy, con­tem­plat­ing on the chang­ing and evolv­ing nature of moments with­in a con­fined space — a room. These simul­ta­ne­ous moments occur­ring in dif­fer­ent loca­tions intro­duce syn­chro­niza­tion across space, prompt­ing a reflec­tion on the aware­ness of the ‘oth­er’ exist­ing else­where, beyond the imme­di­ate sur­round­ings. This telem­at­ic or tele­path­ic con­nec­tion becomes a sub­ject to mod­i­fi­ca­tions and polyrhyth­mic nuances when expe­ri­enced in a gallery due to dis­tance and vary­ing inter­net speeds and con­nec­tions. Instal­la­tion (mul­ti channel)

Pho­to © Kathrin Scheidt

Haesoo Jung

Automated Dreams

 

Sound, light and stage machin­ery orches­trate a chore­og­ra­phy that evolves in response to each oth­er and the envi­ron­ment, cre­at­ing a unique per­for­ma­tive lan­guage that runs indef­i­nite­ly. Kinet­ic Installation

Pho­to © Kathrin Scheidt

Kirstine Kjeldsen

Singing Teeth

 

Due to unusu­al­ly warm weath­er, crick­ets were sound­ing in the south of Spain as ear­ly as Feb­ru­ary this year. Impres­sive, yet unset­tling, their singing sig­nalled a dis­joint­ed state of being ; a per­sis­tent singing-out-of-time as a beau­ti­ful alarm going off. Singing Teeth builds on the per­son­al expe­ri­ences of being out at night, nav­i­gat­ing the fields by the unmis­tak­able sound of the crick­ets’ call. It exam­ines the ambi­gu­i­ty of appre­ci­at­ing a song come ear­ly that might not have a future. Instal­la­tion (mul­ti chan­nel com­po­si­tion, fabric)

Pho­to © Kathrin Scheidt

Simina Oprescu

The Catalyst

 

Applied acoustics research on idio­phones and meta­physics of the pol­i­tics of expe­ri­ence, insan­i­ty, time and space, object and event, mate­ri­al­i­ty and ener­gy, mem­o­ry and breath. Each bell voic­es a sto­ry, and sym­bol­ism spans his­to­ry, an inter­face between phys­i­cal and abstract, a res­o­nance of sens­es. I Unus Mundus Some­times I build Some­times I destroy ; II Spir­i­tus Dies ; III Insa­nia. Par­tic­i­pa­to­ry instal­la­tion where indi­vid­u­als are invit­ed to play the bells and lis­ten as a col­lec­tive. Instal­la­tion (mul­ti chan­nel com­po­si­tion, sig­nal pro­cess­ing, bells)

Pho­to © Kathrin Scheidt

 Pho­to ©Kathrin Scheidt

Pho­to © Kathrin Scheidt

Pho­to © Kathrin Scheidt

Simina Oprescu

The Catalyst

 

Applied acoustics research on idio­phones and meta­physics of the pol­i­tics of expe­ri­ence, insan­i­ty, time and space, object and event, mate­ri­al­i­ty and ener­gy, mem­o­ry and breath. Each bell voic­es a sto­ry, and sym­bol­ism spans his­to­ry, an inter­face between phys­i­cal and abstract, a res­o­nance of sens­es. I Unus Mundus Some­times I build Some­times I destroy ; II Spir­i­tus Dies ; III Insa­nia. Par­tic­i­pa­to­ry instal­la­tion where indi­vid­u­als are invit­ed to play the bells and lis­ten as a col­lec­tive. Instal­la­tion (mul­ti chan­nel com­po­si­tion, sig­nal pro­cess­ing, bells)

Makoto Oshiro

Whispers

 

Mul­ti­ple units of small record/playback devices arranged in the space with mul­ti­ple glass cylin­der res­onators will cre­ate a “col­lec­tive feed­back” effect by record­ing each oth­er’s voic­es in a dif­fused “tele­phone game (or Chi­nese Whis­pers)” style. Each unit has a vary­ing record/playback time, and they “lis­ten” to each oth­er and change their behav­ior based on what they hear. While record­ing each oth­er, the units also record oth­er sounds around them, which are also tak­en into the cir­cu­lat­ing feed­back and affect the result­ing out­put.
Whis­pers pro­duces an inter­ac­tion between the clus­tered instal­la­tion and the space/ envi­ron­ment in which it is placed through the res­o­nance of the cylin­ders, the dif­fer­ent sounds in the room, and the reac­tions of each unit. Instal­la­tion (Sculp­tur­al) / Performance

Pho­to © Kathrin Scheidt

Germaine Png

Object : Community

 

Bond­ing with an aban­doned object, and try­ing to con­vince it that it is still loved, the doc­u­men­ta­tion of this pub­lic instal­la­tion show­cas­es the inti­mate research process of what it means to be an object of com­mu­ni­ty. Instal­la­tion

Pho­to © Kathrin Scheidt

Niels Poensgen

Disappearing Acts

 

An exer­cise in com­po­si­tion­al evap­o­ra­tion for oscil­la­tors, water droplets and mois­ture sen­sors. Dura­tional Per­for­mance / Composition

 

2 June⌇2–5 PM

Pho­to © Kathrin Scheidt

Mariano Rosales

An Andean Archive

 

 

My limbs were them­selves, a portable tech­nol­o­gy of mem­o­ry. How long would this aware­ness last, how long would the cells in my body keep this infor­ma­tion res­onat­ing and alive?”. Ethno­graph­i­cal sound archives were made through par­tic­u­lar ways of lis­ten­ing, aim­ing at spe­cif­ic objects of inter­est. What epis­te­molo­gies have been rein­forced and con­struct­ed in this process, and what mean­ings have been lost in the way ? The record­ings are there, but who can tell the sto­ries about them, and who will be telling them in the future ? The­o­ret­i­cal work

 

2 June⌇6 PM⌇Panel Talk with AnaRosa

Pho­to © Kathrin Scheidt

Sel

Gaze-back

 

An episod­ic mul­ti­chan­nel video instal­la­tion that trans­ports view­ers into an imag­ined total­i­tar­i­an metrop­o­lis par­tic­u­lar for its sur­veil­lance devices. The piece de/reconstructs liv­ing under con­stant scruti­ny phys­i­cal­ly and son­i­cal­ly map­sTehran’s CCTV scheme, as a real-time point for ref­er­ence. It prompts the par­tic­i­pants to active­ly asso­ciate cer­tain sounds with urban sys­tems of
sur­veil­lance, while expe­ri­enc­ing them. In the sec­ond episode, a short sci-fi film com­ple­ments the artist’s explo­rations of per­son­al inter­ven­tions with such
sys­tems. Instal­la­tion

Pho­to © Kathrin Scheidt

Tat Sham

On my way home

 

Mul­ti-chan­nel doc­u­men­tary dance audio­vi­su­al instal­la­tion based on Kevin Lynch’s “Imaga­bil­i­ty” con­cept of city plan­ning and men­tal map­ping. Instal­la­tion (Audio­vi­su­al)

Pho­to © Kathrin Scheidt

Victor Yrigoyen

Dalmatina

 

To be occu­pied by any­one and their mem­o­ries. To be a space, a bare nest. To lie between out­look and obliv­ion. A col­lec­tion of per­son­al and found, designed and cre­at­ed objects to dream up a home. Give pur­pose, bring sig­nif­i­cance to the mun­dane. Doll up, choose an aes­thet­ic expe­ri­ence. Archival media re-sam­pled to cre­ate new pieces. Noth­ing safe, noth­ing lost. As they were cre­at­ed, the room tone was pushed to feed­back and record­ed through­out the process. So it could now be played back and be a sound­track for itself, a sound­track for a room. Instal­la­tion (mul­ti chan­nel, objects, prints, furniture)

Pho­to © Kathrin Scheidt

Mauro Zannoli

Matter, No Matter

 

“Mat­ter, No Mat­ter” is an audio­vi­su­al instal­la­tion that explores feed­back loops’ dynam­ic inter­play in audio and video media. Draw­ing inspi­ra­tion from the inter­wo­ven process­es in chem­istry and biol­o­gy, this work delves into feed­back mech­a­nisms’ autonomous and self-reg­u­lat­ing nature.
In chem­istry, feed­back loops are inte­gral to var­i­ous reac­tions, such as in the oscil­la­to­ry Belousov-Zhabotin­sky reac­tion, where chem­i­cal reac­tions pro­duce rhyth­mic pat­terns. This phe­nom­e­non, char­ac­ter­ized by peri­od­ic changes in col­or and reac­tant con­cen­tra­tion, serves as an inspi­ra­tion for the installation’s audio­vi­su­al feed­back loops. Through their con­tin­u­ous inter­ac­tion and trans­for­ma­tion of audio and video sig­nals, these loops cre­ate an ever-evolv­ing audio­vi­su­al net­work. Instal­la­tion

Pho­to © Kathrin Scheidt

 Pho­to ©Kathrin Scheidt

Pho­to © Kathrin Scheidt

Pho­to © Kathrin Scheidt

Mauro Zannoli

Matter, No Matter

 

“Mat­ter, No Mat­ter” is an audio­vi­su­al instal­la­tion that explores feed­back loops’ dynam­ic inter­play in audio and video media. Draw­ing inspi­ra­tion from the inter­wo­ven process­es in chem­istry and biol­o­gy, this work delves into feed­back mech­a­nisms’ autonomous and self-reg­u­lat­ing nature.
In chem­istry, feed­back loops are inte­gral to var­i­ous reac­tions, such as in the oscil­la­to­ry Belousov-Zhabotin­sky reac­tion, where chem­i­cal reac­tions pro­duce rhyth­mic pat­terns. This phe­nom­e­non, char­ac­ter­ized by peri­od­ic changes in col­or and reac­tant con­cen­tra­tion, serves as an inspi­ra­tion for the installation’s audio­vi­su­al feed­back loops. Through their con­tin­u­ous inter­ac­tion and trans­for­ma­tion of audio and video sig­nals, these loops cre­ate an ever-evolv­ing audio­vi­su­al net­work. Instal­la­tion