Stu­dent Works  /  Master

SoundS Master Exhibition 21/22

public exhibition

13–16 January 2022

Graph­ics © Kathrin Scheidt

13 — 16 Jan 2022

 

Open­ing
13 Jan­u­ary 2022 | 4 — 6 PM

 

Exhi­bi­tion
14–15 Jan­u­ary 2022 | 10 AM — 6 PM
16 Jan­u­ary 2022 | 10 AM — 3 PM

 

This year’s fin­ish­ing class of Sound Stud­ies and Son­ic Arts will exhib­it their master’s works on 13–16 Jan­u­ary 2022 at the UdK Berlin.

Aleksander Filipiak

Räúurt Eúre Scheiße weg .

instal­la­tion

LIE 311

 

House­hold elec­tron­ics, ques­tion­able cloth­ing, SchnickSchnack or the ubiq­ui­tous Mat­tress — Räúurt Eúre Scheiße weg . is a zine doc­u­ment­ing a project which explored the socio-eco­nom­ic phe­nom­e­na of trash and object dis­pos­al onto the streets of Berlin. The project reflect­ed on these for­got­ten objects, their ephemer­al­i­ty and the poten­tial ben­e­fits and detri­ments of this sec­ondary recy­cling econ­o­my. A selec­tion of the trash objects I encoun­tered were trans­formed into site-spe­cif­ic sound sculp­tures. How­ev­er, just as ephemer­al as trash they were made of, these sculp­tures are no longer sound­ing, pre­served only in the zine.  Copies are avail­able at the exhibition.

Pho­to © SoundS

Kayla Elrod

PLZ KRUSH

Instal­la­tion

LIE 323

 

PLZ KRUSH is the title giv­en to my instal­la­tion and my age-restrict­ed YouTube chan­nel. Both doc­u­ment my per­for­ma­tive research focus­ing on an over­sized pair of vinyl plat­form heels—a hyper-sex­u­al object pri­mar­i­ly asso­ci­at­ed with sex work­ers and pole-fit­ness enthu­si­asts. My online pres­ence nes­tles the shoes with­in fetish and ASMR com­mu­ni­ties, often show­cas­ing their son­ic poten­tial through a pair of anony­mous legs. With my research, I want­ed to explore the artis­tic poten­tial with­in the aes­thet­ics of these com­mu­ni­ties. Rather than dis­tin­guish myself as an artist pro­duc­ing work sep­a­rate from fetish con­tent, my aim is to blur the lines between fetish/sex work and artis­tic expres­sion. 
With­in the instal­la­tion I have cho­sen not to show any video in order to avoid my body becom­ing the focal point of the work. Instead, I want to focus on the sounds and nar­ra­tive of the shoes by putting them on dis­play and exhibit­ing the foley design linked to the con­tent post­ed on my YouTube channel.

Pho­to © SoundS

Elizabeth Davis

feedforward

per­for­mance

26 Jan­u­ary 2022 | 7:30 pm

km28 | Karl-Marx-Straße 28, 12043 Berlin

 

In feed­for­ward, a machine learn­ing mod­el trained on 10,000 hours of piano per­for­mances impro­vis­es in tan­dem with a live per­former. As per­former and pro­gram attempt to antic­i­pate and respond to each other’s impro­vi­sa­tions, the sta­bil­i­ty of the per­for­mance is pushed fur­ther and fur­ther to the lim­its of “musi­cal­i­ty.”

ιи.fιиιт ∞

TIME VACUUM III

sim­u­la­tion

10–17 Jan­u­ary 2022


announce­ments and updates in telegram chan­nel. link : https://t.me/+t9S7X9PS6kMzMGI6, QR-Code or send a mail to in.finit3141@gmail.com if you are not on telegram and want to fol­low updates

 

as part of the Time-Vac­u­um-Series, a post-dual sim­u­la­tion with­out author­ship in sys­tems of decen­tral­iza­tion. pre­sent­ing a hyper-tech­no­crat­ic frame­work, spa­tial audio por­tals to be infused with son­ic trace as a recur­sive, intel­li­gent con­tain­er of mem­o­ry and thought, co-exist­ing as a col­lec­tive flu­id, a com­pound of oppo­si­tions, the bel­ly of the drag­on. In here it roars, swirls, through its chaos its wis­dom on trans-embod­ied expe­ri­ence through the time­less­ness of infi­nite poten­tial into the sen­sa­tion of oneness. 

Fol­low devel­op­ments and announce­ments of ⵣ, an agent of the year 2134, engi­neer, main­tain­er and sor­cer­er in the space, more info in telegram link.

Pho­to © SoundS

Farshad Xajehnassiri (aka tarxun) 

this○place○meant

Abstrac­tion of Space and Real­iza­tion of Sound through Phys­i­cal and Dig­i­tal Media based on the Gestalt’s Law of Closure 

 

14.2.2022 | 4PM
15.2.2022 | 6PM
Liet­zen­burg­er Str. 45, 3.OG
10789 Berlin
Instal­la­tion performance 

 

A cer­tain form of absence is being more present in our time with the over­whelm­ing aug­men­ta­tion of vir­tu­al realms, dig­i­tal iden­ti­ties, and com­mu­ni­ca­tion through flat screens. In this project, this phan­tom state of pres­ence is con­cep­tu­al­ly indi­cat­ed as a per­ceiv­able whole that con­tains ignored miss­ing parts ; which sim­i­lar­ly is demon­strat­ed in Gestalt psy­chol­o­gy as Kanizsa shapes. 

As the title sug­gests –even though homon­i­cal­ly–, the piece con­cerns “dis­place­ment”, and in this case the dis­place­ment of the artist ; metaphoriz­ing it as a Kanizsa object, in which the presence/absence of whom’s iden­ti­ty and cul­ture in both places is equal­ly inad­e­quate unless con­sid­ered in favor of the whole. Just like a Kanizsa object, this piece spot­lights the visual/sonic events as a medi­um for ques­tion­ing the (in)significance of presentiality. 

The live act will uti­lize the space, a quadraphonic+1 loudspeaker/subwoofer set-up, musi­cal instru­ments, DSP, laser-point­ers, framed nets and prism sheets. 

Pho­to © Aude Langlois

Ånsgar

Hypernyms

Per­for­ma­tive Installation

15 Jan­u­ary 2022 | 2−2.30 pm, 3−3.30 pm, 4−4.30 pm, 5−5.30 pm

LIE 314/15

 

“They all stood in front of the mir­ror once. The nar­cis­sis­tic pose devel­oped with­in puber­ty usu­al­ly pass­es by. Yet, in con­junc­tion with sound — not talk­ing about a joy­ful­ly lilt­ed melody, but the deter­mined and defined sound of a con­crete record­ing ready for play­back and mem­o­riza­tion and there­fore always avail­able for the rep­e­ti­tion of the nar­cis­sis­tic rit­u­al — the elu­sive pose turns into a sta­ble pro­gram of the self.” (Diederich­sen, 2014)

Pho­to © Kathrin Scheidt

Francisco Riffo Gómez

A tiny piece of time.

Per­for­mance for com­put­er and six­teen speakers

15 Jan­u­ary 2022 | 4:30 pm | LIE 318

Pho­to © Kathrin Scheidt

Martin Moolhuijsen

cosm(o)etica

Audio­vi­su­al Installation

LIE 314/315 | 13,14,16 Jan­u­ary 2022

cosm(o)etica is an audio­vi­su­al instal­la­tion divid­ed into five dif­fer­ent sec­tions, each of them in a dif­fer­ent style and on a dif­fer­ent top­ic of the audio­vi­su­al rela­tion. eschew­ing for­mal coher­ence and organ­ic uni­ty, cosm(o)etica touch­es themes such as : the fic­tion­al­iza­tion of the self, the ethics of fol­low­ing somebody’s instruc­tions, the mate­ri­al­i­ty of film with opti­cal sound­track, the rep­re­sen­ta­tion of sound and lan­guage, the inven­tions of codes and nota­tion­al sys­tems, and the thresh­old beyond which rep­re­sen­ta­tions and illu­sions become a per­cep­tion of real­i­ty ; ulti­mate­ly posit­ing the fal­li­bil­i­ty of human beings in the face of the cosmos. 

Pho­to © Kathrin Scheidt

Haku Sungho

How the Sea conveys : The Baltic Sea Coast of Germany

instal­la­tion

LIE 303

 

A mul­ti-media instal­la­tion based on field research of the Baltic Sea coast of Ger­many and its envi­ron­men­tal prob­lems, espe­cial­ly marine plas­tics. The sound of the waves in the Baltic Sea, where the plas­tic was col­lect­ed, is record­ed (cut) on a 12-inch record disk made entire­ly from ocean plas­tic wastes and this is played back as a video work with the image of the sea. In addi­tion, the instal­la­tion includes a vari­ety of mate­ri­als col­lect­ed from the Baltic Sea and works doc­u­ment­ing the process of their transformation.

Pho­to © Kathrin Scheidt

Kim Wichera

a place of calm

instal­la­tion for bin­au­r­al head­phones with mobile music players

LIE 312

A place of calm is an acoustic explo­ration of psy­chi­atric wards.

Pho­to © speaker