Stu­dent Works  /  Master

SoundS Master Exhibit 23 JUNE

public exhibition

08–12 June 2023

Pho­tos © Kathrin Scheidt

08–12 June 2023
Col­legium Hun­gar­icum Berlin
Dorotheen­straße 12
10117 Berlin

 

Exhi­bi­tion
8 June | 4 – 11 pm
9 June | 2 – 6 pm
10 June | 2 – 10 pm
11 June  | closed
12 June | 2 – 6 pm

 

Per­for­mances

27 May | 8 pm – 4 am | Joseph Kamaru |
*This per­for­mance takes place at Silent Green – Gericht­str 35, 13347 Berlin 

8 June | 4 – 8 pm | Eric Maltz | CHB
8 June | 9 pm | Gen­e­sis Vic­to­ria | CHB
8 June | 10 pm | Mark Bal­lyk | CHB
June 10 | 7:30 pm | Sean Regan | CHB
10 June | 9 pm | Jorge Vic­ario | CHB

 

This semes­ter’s fin­ish­ing class of Sound Stud­ies and Son­ic Arts exhib­it­ed their master’s works on 8–12 June 2023 at the Col­legium Hun­gar­icum Berlin.

Mark Ballyk

through a cosmic window, a molecular window, a

 

A per­for­mance for play­ers in sev­er­al unde­fined move­ments. Per­for­mance

 

Pho­to © Kathrin Scheidt

Ben Glas

Musical Relativism : A Cookbook

 

A hands-on and prac­ti­cal how-to-guide for cre­at­ing spa­tial­ly inter­ac­tive music, “Musi­cal Rel­a­tivism : A Cook­book” deliv­ers read­ers a com­pre­hen­sive break­down of both ana­log and dig­i­tal tech­niques used in the com­pos­ing of rel­a­tivis­tic musics. Active ingre­di­ents include, but are not lim­it­ed to : bite-sized intro­duc­tions to key son­ic con­cepts, digestible exer­cis­es for exper­i­men­ta­tion at home and palat­able sam­ples to accom­pa­ny the read­ing. Bön appetite. Book

Pho­to © Kathrin Scheidt

Angelo Harmsworth

Towards An Infinite Cadence

 

Towards An Infi­nite Cadence is a sculp­tur­al arrange­ment of 22 loud­speak­ers which broad­cast an ongo­ing & con­tin­u­ous­ly shift­ing com­po­si­tion. By uti­liz­ing spa­tial­i­ty and bypass­ing lin­ear­i­ty, the piece turns the 4th floor land­ing into a zone of per­pet­u­al radi­ance, where dis­fig­ured har­mon­ic frag­ments blos­som along­side tac­tile, over­driv­en den­si­ty. Instal­la­tion

Pho­to © Kathrin Scheidt

Jospeh Kamaru KMRU

WAI8

 

Order­ing of time refutes spa­tial agency and tem­po­ral auton­o­my, thus repro­duc­ing uni­for­mi­ty and lin­ear­i­ty to time, alter­ing the under­stand­ing of real­i­ty and polit­i­cal engage­ment with it. WAI8, an 8 hour dura­tional per­for­mance, con­fig­ures spa­tial-tem­po­ral unmap­ping by nego­ti­at­ing move­ment, body, time, and space. Posi­tions of lim­i­nal­i­ty are brought to the sur­face ren­dered by envelop­ing and dis­so­cia­tive sounds, field record­ing, and nois­es as actu­al events expe­ri­enced by (own) body. WAI8 is an invi­ta­tion and exten­sion to lis­ten­ing with a rad­i­cal open­ness to the inter­stices and the in-between — a frac­tur­ing of time­lines and spa­tial agency. Per­for­mance

 

27 May, 8 pm – 4 am,

Silent Green

Gericht­str 35

13347 Berlin

Free entrance, reg­is­tra­tion required

Pho­to © KMRU

Anna Phaenarete Lioka

Lithochronometry

 

The project explores the rela­tions between human-stones-machine through mem­o­ry. It aims to ques­tion our posi­tion in the world as enti­ties, human and non-human, and to sug­gest and imag­ine ways to cre­ate inter­twined worlds. What mem­o­ry can be, from the per­spec­tive of a stone ? How can we reflect on each oth­er’s mem­o­ries, human and non human ? We exist with­in this world with oth­ers, humans and non humans. Nev­er­the­less our exis­tence is pre­dom­i­nant in rela­tion to objects, we act on them con­stant­ly rather than them act­ing on us. They behave based on our actions. This is putting us in the cen­ter of things and every­thing exists through our scope. Tak­ing this view on this, cre­ates bound­aries between us, hier­ar­chies in exis­tence that cre­ate dis­tinc­tions. Thus the ques­tion is how can we instead cre­ate rela­tions with them, in a way that we equal­ly exist­ing with, dying with, think­ing with ? Shift­ing the focus of atten­tion from humans and coex­ist­ing in a sym­bi­ot­ic rela­tion. Instal­la­tion

Pho­to © Kathrin Scheidt

Davide Luciani

The Order Room (2023)

 

Petro­le­um wax, motor, vase­line, sil­i­cone hoses, fab­ric, steel, peri­staltic pumps, petro­le­um oil, trans­duc­ers, bass ampli­fi­er, speak­ers, lights.

In “The Order Room”, Luciani crafts a series of dis­parate sculp­tur­al ele­ments, hint­ing at a vital­i­ty that lies in the intra-action of sounds and objects. Com­prised of wax casts punc­tured by ooz­ing liq­uids, vase­line, pumps, speak­ers, and sil­i­cone hoses filled with petro­le­um oil, this piece weaves the sem­blance of a (non-)functional sys­tem of mutu­al­ly nour­ish­ing ele­ments. Host­ed in an indus­tri­al kitchen fall­en into dis­use, the site-spe­cif­ic instal­la­tion inter­twines the space’s for­mal func­tion with a fic­tive method of pro­duc­tion. Instal­la­tion

Pho­to © Kathrin Scheidt

Eric Maltz

continue……./ begin

 

Imag­ine a wave­form which takes 4 hours to com­plete a full cycle. continue……../ begin is a dura­tional per­for­mance that dances on the upper har­mon­ics of this wave. A series of com­po­si­tion­al path­ways zooms into and out of the invis­i­ble and infi­nite archi­tec­ture of time. continue……../ begin is the lived half of an ongo­ing artis­tic research project about the merg­ing of life-time and art-time through dura­tional artis­tic prac­tices. Today, it will be per­formed on syn­the­siz­er, how­ev­er this com­po­si­tion can be real­ized with any com­bi­na­tion of instru­ments dur­ing any four-hour peri­od and is intend­ed to give both the lis­ten­er and the per­former a place to res­onate and feel what it is to be a being in time. Per­for­mance

Pho­to © Kathrin Scheidt

a. modica

recursive speculation

 

“Sci­ence has explored the micro­cos­mos and the macro­cos­mos ; we have a good sense of the lay of the land. The great unex­plored fron­tier is complexity.”

—Heinz Pagels, The Dreams of Reason

 

From weath­er cycles to inter­na­tion­al economies, recur­sive process­es reg­u­late a wide vari­ety of sys­tems both nat­ur­al and man-made. An arrange­ment of inter­con­nect­ed feed­back agents try­ing to com­mu­ni­cate with each oth­er through dif­fer­ent lan­guages inevitably ends up entan­gled in a net­work of con­stant mis­un­der­stand­ing ; as humans wit­ness­ing such an inter­ac­tion, we can grasp but a glimpse of the com­plex process­es that are hid­den behind these devices. In this con­text, the son­ic man­i­fes­ta­tions of the sys­tem act as sig­ni­fiers for such process­es, open­ing an opaque win­dow into the emer­gent behav­iour of this net­work of “black box­es”. Instal­la­tion

 

Pho­to © Kathrin Scheidt

Arnau Montserrat with Las Maleantes

Habitat 3000

 

The col­lab­o­ra­tive VR uni­verse, Habi­tat 3000, offers insights to a futur­is­tic meta­mor­pho­sis of our ecosys­tems, through an explo­ration of the poten­tial of artis­tic co-cre­ation. Ecosys­tems are adapt­ing and chang­ing dai­ly. How would they recal­i­brate under fast chang­ing glob­al con­di­tions ? Habi­tat 3000 re-appro­pri­ates a vision of social and polit­i­cal change by allow­ing its users to dream about what is pos­si­ble. In the cre­ative process, artists and design­ers con­scious­ly sus­pend­ed real­ist ideals and focused on sur­re­al­ist aes­thet­ics that ignite our imag­i­na­tion. How do you imag­ine a future in which beau­ty is the pro­tag­o­nist ? VR Expe­ri­ence

 

Pho­to © Kathrin Scheidt

Shaahin Peymani

Fictitious Fixture

 

Lis­ten­ing to the post-idus­try, res­onat­ing the silenced machin­ery, re-nar­ra­tion of a derailed jour­ney. Instal­la­tion

 

Pho­to © Kathrin Scheidt

Sean Regan

Nowhereville — or, what it’s like to be two places at once when you’re nowhere at all.

 

The lit­er­al mean­ing of “ou-topos-ia”, Nowhere­ville is a bi-local immer­sive per­for­mance explor­ing the utopi­an visions of the inter­net’s destruc­tion of space from the per­spec­tive of liv­ing through it. Per­formed simul­ta­ne­ous­ly at CHB, Berlin, Ger­many, and Vir­ginia Tech’s Cube The­atre, in Blacks­burg VA, USA. The piece makes use of ambison­ic record­ings both as con­crete mate­ri­als, and, when reduced to their instan­ta­neous spa­tial and tim­bral con­tent, as sources for syn­the­sized sounds. Per­for­mance

 

Pho­to © Kathrin Scheidt

Nico Rosenberg

Memory and Resonance

 

Mem­o­ry and Res­o­nance is an immer­sive sound instal­la­tion inter­pret­ed as a son­ic tes­ti­mo­ny of two his­toric mem­o­ry spaces. This instal­la­tion presents a strong atmos­phere evoked by rever­ber­a­tions from these spe­cif­ic places, allow­ing vis­i­tors to expe­ri­ence and reflect on the sto­ries which will be read­able at the end of each sound piece. Instal­la­tion

 

Pho­to © Kathrin Scheidt

 Pho­to ©Kathrin Scheidt

Pho­to © Kathrin Scheidt

Pho­to © Kathrin Scheidt

Nico Rosenberg

Memory and Resonance

 

Mem­o­ry and Res­o­nance is an immer­sive sound instal­la­tion inter­pret­ed as a son­ic tes­ti­mo­ny of two his­toric mem­o­ry spaces. This instal­la­tion presents a strong atmos­phere evoked by rever­ber­a­tions from these spe­cif­ic places, allow­ing vis­i­tors to expe­ri­ence and reflect on the sto­ries which will be read­able at the end of each sound piece. Instal­la­tion

 

Ani Samperi

Black Cube

 

raw steel, trans­duc­ers, ultra-mat­te black paint

‘Black Cube’ is a monopol sound source com­prised of raw steel that emanates the pri­mal screams of its own man­u­fac­tur­ing process, digest­ed and regur­gi­tat­ed by spa­tial and dig­i­tal reverb cham­bers and processed into a series of low-fre­quen­cy drone com­po­si­tions. Each com­po­si­tion uti­lizes and expands upon the res­o­nant fre­quen­cies of the mate­r­i­al and dimen­sions of the object itself. Through the use of bone con­duc­tion trans­mit­ting audio vibra­tions to the inner ear, Black Cube wel­comes both the hear­ing and hear­ing-impaired to engage in direct phys­i­cal con­tact with it, where­by the broad­er fre­quen­cy spec­trum of its vibra­tion may be expe­ri­enced in full tac­tile sat­u­ra­tion. Despite its eerie and oth­er­world­ly pres­ence, the object stands and hums in an ele­gant and non-threat­en­ing man­ner, draw­ing its audi­ence close­ly towards it much like the mono­lith in ‘2001 : A Space Odyssey’. When inter­pret­ed as a dis­tort­ed echo cham­ber of its own expe­ri­ences and mem­o­ries, this con­tact may sym­bol­ize a bridge between two dis­parate worlds, of the super­fi­cial­ly strange and an empa­thet­ic lis­ten­er, in a sim­ple active embrace. Instal­la­tion

Pho­to © Kathrin Scheidt

Samantha Simmons

Recycled Listening Room

 

Recy­cled Lis­ten­ing Room shows the fil­ter­ing process of var­i­ous stages of a sound mem­o­ry. An audio record­ing is a rep­re­sen­ta­tion of a son­ic event, and record­ings repro­duce lis­ten­ing expe­ri­ences from the past. With the cre­ation of sound record­ing tech­nol­o­gy, lis­ten­ers gained the abil­i­ty to hear music per­formed at anoth­er place and time and to access a mem­o­ry that was not their own, but another’s experience.

 

My col­lab­o­ra­tors recon­struct­ed sound mem­o­ries from their past by cre­at­ing audio record­ings based on aur­al mem­o­ries from child­hood. I then com­pose with the mem­o­ries, and use them to dri­ve through met­al, adding more lay­ers to the fil­ter­ing process. I am con­front­ed with my own lis­ten­ing mem­o­ries through their expe­ri­ences and sto­ries of their mem­o­ry dig­ging process. We hear dif­fer­ent sig­nals, sym­bols, and codes accord­ing to our lis­ten­ing his­to­ry. I fil­ter these son­ic mem­o­ries through my con­scious­ness, and again through the nat­ur­al reverb of the met­al. The met­al sheets are res­onators for the trans­duc­ers that are play­ing the mem­o­ry. The met­al acts as a nat­ur­al spring reverb to ampli­fy­ing the mem­o­ries. Reverb is the per­sis­tence of sound after it is pro­duced and is cre­at­ed when a sound sig­nal is reflect­ed. This caus­es numer­ous reflec­tions to build up and then decay as the sound is absorbed by the sur­faces of objects in the space. The choice of met­al sig­ni­fies the longevi­ty of the mechan­i­cal mem­o­ry after it is record­ed. Reverb also effects intel­li­gi­bil­i­ty of sounds, rep­re­sent­ing the lucid­i­ty of the mem­o­ry over time. The mem­o­ry col­lages start at vary­ing lengths, and play on loops. This allows the mem­o­ries to stack in dif­fer­ent con­fig­u­ra­tions, sim­i­lar to how our inter­per­son­al asso­ci­a­tions with mem­o­ry and sound change over time. The com­pos­er Pauline Oliv­eros states that when we are lis­ten­ing there is a con­tin­u­al inter­play with the per­cep­tion of the moment com­pared with our remem­bered expe­ri­ence. She rec­og­nized that in order to expe­ri­ence the present moment we must con­front mem­o­ry, and we do with the aid of a record­ing. Instal­la­tion

Pho­to © Kathrin Scheidt

Hyewon Suk

Perturbation

“Per­tur­ba­tion” is a gen­er­a­tive audio­vi­su­al work that delves into the spa­tial-tem­po­ral char­ac­ter­is­tics of bio­log­i­cal sys­tems, cre­at­ing a unique rela­tion­ship between audi­to­ry and visu­al ele­ments. Imple­ment­ing the con­cept of per­tur­ba­tion, it gen­er­ates tem­po­ral struc­tures in sound and image that reflect the prin­ci­ples of resis­tance, adap­ta­tion, trans­for­ma­tion, and resilience. Uti­liz­ing Grow­ing Neur­al Cel­lu­lar Automata(GNCA), the project explores a new approach to the co-cre­ative process between humans and machines enabling real-time obser­va­tion and par­tic­i­pa­tion. Gen­er­a­tive audio­vi­su­al installation

Pho­to © Kathrin Scheidt

Nicolás Teubal

As the beating fades

 

As the beat­ing fades re-inter­prets the songs com­piled in the Mapa Musi­cal Argenti­no through a per­son­al lens. As a gen­er­a­tive instal­la­tion, it explores the deep entan­gle­ments of the archive and its place with­in a his­to­ry of inter­nal col­o­niza­tion. The piece mate­ri­al­izes a recon­nec­tion with the roots through the acknowl­edge­ment of its unat­tain­abil­i­ty, while explor­ing and ques­tion­ing the artist’s own posi­tion­al­i­ty. As the beat­ing fades, it bears the traces of loss. Instal­la­tion

Pho­to © Kathrin Scheidt

 Pho­to ©Kathrin Scheidt

Pho­to © Kathrin Scheidt

Pho­to © Kathrin Scheidt

Nicolás Teubal

As the beating fades

 

As the beat­ing fades re-inter­prets the songs com­piled in the Mapa Musi­cal Argenti­no through a per­son­al lens. As a gen­er­a­tive instal­la­tion, it explores the deep entan­gle­ments of the archive and its place with­in a his­to­ry of inter­nal col­o­niza­tion. The piece mate­ri­al­izes a recon­nec­tion with the roots through the acknowl­edge­ment of its unat­tain­abil­i­ty, while explor­ing and ques­tion­ing the artist’s own posi­tion­al­i­ty. As the beat­ing fades, it bears the traces of loss. Instal­la­tion

Árni Valur

Picture this Sound

 

Fjögur verk án titils / Four unti­tled works. AV

Pho­to © Kathrin Scheidt

Cielo Vargas

HECHIZAS

 

HECHIZAS is a project of sound inter­ven­tion in Berlin pub­lic space, propos­ing a reflec­tion on the son­ic occu­pa­tion of the street, based on the lis­ten­ing, coex­is­tence and recog­ni­tion of the infor­mal sound of Bogotá. Par­tic­u­lar­ly the son­ic pres­ence of the itin­er­ant com­merce that reveals in its sonorous wan­der­ing modes of eco­nom­ic resis­tance as well as forces of sin­gu­lar inventiveness.

pub­lic space inter­ven­tion and mul­ti­chan­nel sound piece

Pho­to © Kathrin Scheidt

Jorge Vicario

Screamer — Multichannel Sound Performance

 

Scream­er is the name of a mul­ti­chan­nel instru­ment of wave-table syn­the­sis. It is con­trolled through streams of num­bers defined by algo­rith­mic pat­terns, and trans­forms these pat­terns in real time through the inter­po­la­tion of its val­ues. The name of the instru­ment derives from the expres­sive char­ac­ter of the sounds it pro­duces, and spec­u­lates with the aes­thet­ic of scream­ing ani­mal sounds. In this pre­mière per­for­mance, the sound will be dif­fused using an eight-speak­er sys­tem to enable the cre­ation of new musi­cal solu­tions through var­i­ous con­fig­u­ra­tions of this live-oper­at­ed instrument.

Per­for­mance

Pho­to © Kathrin Scheidt

Genesis Victoria

DWELLERS — Asynchronous phonotaxis

 

Son­ic per­for­mance by Gen­e­sis Vic­to­ria (they/them) Dwellers is a son­ic per­for­mance and instal­la­tion that reflects on accel­er­a­tionism, ecolo­gies and queer iden­ti­ties. A moth built their nest in a crashed car. The sym­bi­ot­ic car-moth arrives at a gas sta­tion where they meet the oper­a­tor, start­ing a series of pro­ce­dures and process­es with non-func­tion­al pur­pose. Through this dystopic premise, the artist aims to cre­ate an atmos­phere to explore post-human phono­taxis, the behav­iour of an organ­ism towards sound and the emer­gency of son­ic ecolo­gies : polyrhythm, pat­terns and ges­tures are inspired by the asyn­chro­nous sounds of wax moths, mechan­i­cal labour and the pos­si­bil­i­ty of inti­ma­cy. After a car crash, slow­ness stands as an hon­est man­i­fest and a tac­tic of survival.

The per­for­mance uses wear­able tech­nol­o­gy based on move­ment and tem­per­a­ture sen­sors to oper­ate sounds through gestures.

Per­form­ers : Car-moth : Gen­e­sis Vic­to­ria (they/them)

The oper­a­tor : Kay­la Elrod (they/she)

Wear­able and Sound design : Gen­e­sis Vic­to­ria (they/them)

Per­for­mance / Installation

Pho­to © Kathrin Scheidt

 Pho­to ©Kathrin Scheidt

Pho­to © Kathrin Scheidt

Pho­to © Kathrin Scheidt

Genesis Victoria

DWELLERS — Asynchronous phonotaxis

 

Son­ic per­for­mance by Gen­e­sis Vic­to­ria (they/them) Dwellers is a son­ic per­for­mance and instal­la­tion that reflects on accel­er­a­tionism, ecolo­gies and queer iden­ti­ties. A moth built their nest in a crashed car. The sym­bi­ot­ic car-moth arrives at a gas sta­tion where they meet the oper­a­tor, start­ing a series of pro­ce­dures and process­es with non-func­tion­al pur­pose. Through this dystopic premise, the artist aims to cre­ate an atmos­phere to explore post-human phono­taxis, the behav­iour of an organ­ism towards sound and the emer­gency of son­ic ecolo­gies : polyrhythm, pat­terns and ges­tures are inspired by the asyn­chro­nous sounds of wax moths, mechan­i­cal labour and the pos­si­bil­i­ty of inti­ma­cy. After a car crash, slow­ness stands as an hon­est man­i­fest and a tac­tic of survival.

 

The per­for­mance uses wear­able tech­nol­o­gy based on move­ment and tem­per­a­ture sen­sors to oper­ate sounds through gestures.

 

Per­form­ers : Car-moth : Gen­e­sis Vic­to­ria (they/them)

The oper­a­tor : Kay­la Elrod (they/she)

Wear­able and Sound design : Gen­e­sis Vic­to­ria (they/them)

Per­for­mance / Installation