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SoundS Master Exhibit 24

admin — Thu, 30 May 2024 13:17:00 +0000

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 a 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

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

Simina Oprescu

The Catalyst

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

Mauro Zannoli

Matter, No Matter

SoundS Master Exhibit 23

admin — Thu, 08 Jun 2023 07:02:00 +0000

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

Performances

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

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. Bon 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

Nico Rosenberg

Memory and Resonance

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

Nicolás Teubal

As the beating fades

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 premiere 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

Genesis Victoria

DWELLERS — Asynchronous phonotaxis

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

SoundS Master Exhibition 22

admin — Thu, 26 May 2022 08:43:00 +0000

Student Works / Master

SoundS Master Exhibition 22

public exhibition

26–29 May 2022

Photos © Kathrin Scheidt

26–29 May 2022
Collegium Hungaricum Berlin
Dorotheenstraße 12
10117 Berlin

Opening
26 May 2022 | 4–8 PM

Exhibition
27 May 2022 | 10 AM — 6 PM
28 May 2022 | 10 AM — 8 PM
29 May 2022 | 10 AM — 2 PM

Performances
26 May | Juan Aguilar | 5PM | CHB
Coila-Leah Enderstein | 7PM | CHB
27 May | Coila-Leah Enderstein | 5PM | CHB
28 May | Kate Miller | 6PM | CHB
Awu | 7PM | CHB

Workshops
29 May | Diane Barbé | 6:30–10PM | floating university, Lilienthalstr. 32, 10965 Berlin

This year’s finishing class of Sound Studies and Sonic Arts exhibited their master’s works on 26–29 May 2022 at the Collegium Hungaricum Berlin.

Juan Aguilar

My Other Self

“My Other Self” is an interactive sound installation comprised by eight microphones, one computer and eight speakers; designed as a musical instrument, a composition and a score; and set in a room that integrates performers, composers and audience, regardless of where they stand.

Sounds transduced by the microphones are boosted and synthesized by a computer which returns them through the speakers. The output is then fed back into the system, whose processing components vary in configuration depending on the levels and pitches the computer reads, providing a human listener with the possibility of perceiving a permanent change in spectrum in which he/she has an influence.

Juan Sebastián Aguilar, Nicolás Daleman, Rafael García and Sebastián Rojas will be offering a performance using “My Other Self” on 26 May at 5 p.m.

Photo © Kathrin Scheidt

Awu (Yuhua Li)

Virtual Collision

Virtual Collision is an interactive video game theater piece. It aims to expand the boundary of video game and theater, to combine them into an interesting form. The piece is based on the artistic residency in Canfranc, the residency organized by Munich SVS collective, and in cooperation with Canfranc Underground Laboratory — LSC (Laboratorio Subterráneo de Canfranc). The residency gives a chance for artists to interact with the scientists, and work under the topic of finding dark matter. Virtual Collision took the information of dark matter, quantum physics, and the residency experience as input, transforming them into a part of the video game as output.

Photo © Kathrin Scheidt

Diane Barbé

The Alien Kin: Musicking with the Birds

Sunday 29 May 2022 | from 18:30–22:00

at floating university, Lilienthalstr. 32, 10965 Berlin

The Alien Kin is an ongoing participatory reseach project with a listening session, an introduction to bird calls and other sound making devices, and a musicking moment at sunset in the big open space of floating university.

In search of alternative timbres, tunings and patterns, we mimick and answer those sounds that touch us. Birds and insects, in particular, have evolved alongside humans, vocalising in ways that mark the weather, the seasons, and the general air of the time. After a first edition in the Black Forest in April 2022, this first Berlin iteration of the Alien Kin offers a listening and musicking moment, using primitive self-made soundmakers to listen to, respond to, and play with, those other inhabitants of the air at floating university.

The workshop is free of charge and has limited capacity; interested participants should RSVP to: dianediane@gmx.net

The location is wheelchair accessible and held outdoors. Assistance animals welcomed.

The workshop will be conducted in English. No musical experience is necessary. Vegetarian food will be provided.

Production, scoring by Diane Barbé. Instruments realised collaboratively by Diane Barbé & Joe Summers.

Nico Espinoza

Slow Down. Machine Ecology #1

An installation about sonic relations between machines, natures and humans and the possible ecologies that such relations might bring forth. A set of sound machines was design and build as a response to a two month field recording journey trough Chile and Brasil. These machine set will articulate a systemic relation between different spaces and times, between electric and nature landscapes, a relation (and system) that dislocates sonic events and signals, setting an ecology and its locality in its own term.

Photo © Kathrin Scheidt

Dillon Bastan

Criticality

This film attempts to bridge the concept of criticality from sterile mathematics to life, spirituality, and personal experience. In doing so things get murky and quirky. This may lead one to wonder, as with one’s own life, what was this film even really about?

Photo © Kathrin Scheidt

Eagle (Hou Lam Wu)

Junction

Junction is a 32-Channel Sound Installation with a 1‑hour sound composition loop, based on various implications of space in terms of geometry, trajectories and materiality. What do we choose to listen to when there are infinite choices?

Photo © Kathrin Scheidt

Coila-Leah Enderstein

Songs from me to you

Songs from Me to You is an experimental performance by Coila-Leah Enderstein. Through encounters with historical figures and with the help of particular instruments, the piece situates acoustic knowledge production within the context of coloniality/modernity. With a focus on Germany’s imperial period from 1871 — 1918, the performance playfully works as something between a song cycle and a lecture, incorporating decolonial approaches to sound, listening and knowledge.

Photo © Kathrin Scheidt

Kate Miller

Composition for Turntables

An installation and experimental, compositional performance for turntables exploring rhythm and emergent patterns through the use of locked grooves.

Performance: 28 May | 7 PM | CHB

Photo © Kathrin Scheidt

David Goldberg

The Celestial Random

The 4 channel sound installation translates cosmic rays and radiation into an audible display. The resulting generative composition is spatialized by custom-made loudspeakers. This piece is based on a discussion of the concept of soft errors, which originates from the field of computer science. In the work, however, this concept is poetically expanded and placed in an evolution-theoretical context that critically addresses the question of mutation.

Photo © Kathrin Scheidt

Yun-Chu Liang

In-between

Since the beginning of 2022, I started an experiment by inviting people to sit with me in a hustle market and share tea. To explore care in everyday life encounters, we practice listening together and tuning in to each other. After some months, this experiment will continue in CHB Berlin. It is an ongoing documentation of the moments. Let’s listen to the sound of a cup of tea together!

Photo © Kathrin Scheidt

Tornike Margvelashvili

It Grows/Glows Faint Within

‘It Grows/Glows Faint Within’ is a 5 channel sound and light installation where ambient soundscapes based on folk sacred choirs and electronically created drones are projected from cube shaped speaker sculptures, made out of concrete and translucent acrylic. The installation creates a spatial sonic sculpture mimicking an aura of ancient prayer spaces.

Photo © Kathrin Scheidt

Robin Rutenberg

Stonesong

“Stonesong” is an exploratory binaural VR environment implementing experimental storytelling and poetics as foundations for a feminist methodological approach to world-building. When journeying through this ethereal realm, the listener encounters multiple 3D rendered statues of the artist and other stone structures forged from both familiar and transcendent matter. Sonic elements of voice and stone compose a soundscape further illuminating themes of materiality, imaginative potential, reflection, resonance, and time. “Stonesong” contemplates the complex, layered, and shared constitutive conditions of metamorphic stones and trans* bodies, specifically ‘stone butches.’

Photo © Kathrin Scheidt

Misantrop (Nicolai Vesterkær Krog)

Perfect Pattern

Audio play about home, relationships, ideals, routines and control.

Photo © Kathrin Scheidt

Aodhagán O’Flaherty

perspective: make world (near future)

A video installation that poetically plays with a measured asynchrony of diegetic sound. From a point-of-view perspective, rotating landscapes create a world from time-bending moving-image.
A fortuitous future found from rock and water’s interrelationship.

Photo © Kathrin Scheidt

Samuel Perea-Díaz

UNAIDS_FactSheet_en.pdf

The installation generates impulses of a 20kHz sine wave that displays the pulse rate of the number of deaths from AIDS-related causes worldwide in a year. The piece sonifies the most recent statistics of UNAIDS, which is the world’s most extensive data collection on the HIV epidemic. This artwork is part of a theoretical research that maps the impact of the early AIDS epidemic in specific sound-focused artworks.

Photo © Kathrin Scheidt

Lottie Sebes

Mouthpiece

I held my replica of Christine Forster’s* vocal tract and pushed air through the hollow of its unique undulations, before I saw her face on a video call. When she spoke the words ‘Bahn’ (A), ‘Beet’ (E), ‘mit’ (I), ‘Offen’ (O) and ‘Butter’ (U), lying rigid in an MRI machine, a part of her was transformed into a speaking machine.

This sculptural, multi-channel sound installation explores the unease and unaddressed intimacy of speaking in an alien voice. Using AI generated voices in various stages of training, modelled on Sebes and Forster, it challenges asymmetric power relationships between the silent, disassociated operator of a vocal synthesizer and the voice it produces. Mouthpiece delves into the fleshy and personal relation of holding another human’s throat in your hands, of assuming their identity, of wearing the skin of their voice.

*name has been changed

Photo © Kathrin Scheidt

Photo ©Kathrin Scheidt

Menghan Wang

Silver Ripples

Silver Ripples is an installation consisting of a 6‑channel sound composition of field recordings and a hand-made wind chime made of recycled and recyclable construction metals. The installation hints at 6 secluded places in Berlin, where other 6 hand-made wind chimes were hung, left without any additional information, and continuously sound as parts of those environments throughout and after the announced exhibition period. The wind chimes can be discovered whether expectedly or unexpectedly and given meanings by potential audiences as parts of their own journeys, or as sounding objects accompanying contemplations or meditations at those places.

Photo © Kathrin Scheidt

The Master candidates of the Sound Studies and Sonic Arts Masters program, will publicly defend their master’s theses on 11–13 July, 2022 at the UdK, Bundesallee.

UdK Berlin
Bundesallee 1–12
Room 340
10719 Berlin

MONDAY 11 July 2022

11:45 Diane Barbé Dr. Julia Schröder / Dr. Gilles Aubry

13:00 Eagle (Hou Lam Wu) Prof. Dr. Martin Supper / Dr. Johannes Regnier

14:15 Kate Miller Dr. Johannes Regnier / Dr. Julia Schröder

16:30 Dillon Bastan Dr.Johannes Regnier / Steffen Martin

17:45 Aodhagán O’Flaherty Jacob Eriksen / Steffen Martin

TUESDAY 12 July 2022

09:45 Yun Chu Liang Christiane Hommelstein / Jan Thoben

11:15 Misantrop (Nicolai Vesterkær Krog) Gary Schultz / Christiane Hommelstein

12:30 Tornike Margvelashvili Hans Peter Kuhn / Gary Schultz

15:00 Coila-Leah Enderstein Hans Peter Kuhn / Dr. Jasmine Guffond

16:15 Samuel Perea-Díaz Dr. Brandon LaBelle / Monika Zyla

17:30 Lottie Sebes Hans Peter Kuhn / Prof. Dr. Viktoria Tkaczyk

WEDNESDAY 13 July 2022

10:00 Juan Aguilar Hans Peter Kuhn / Prof. Daisuke Ishida

11:15 David Goldberg Thomas Koch / Prof. Daisuke Ishida

12:30 Menghan Wang Prof. Daisuke Ishida / Prof. Dr. Sabine Sanio

15:00 Nico Espinoza Jan Thoben / Jacob Eriksen

16:15 Awu (Yuhua Li) Tobias Bilgeri / Jacob Eriksen

17:30 Robin Rutenberg Tobias Bilgeri / Chelsea Leventhal

Graphics/Photo ©Kathrin Scheidt

SoundS Master Exhibition 21/22

admin — Thu, 13 Jan 2022 21:00:00 +0000

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

SoundS Master Exhibition 21

admin — Sat, 17 Jul 2021 13:10:00 +0000

Student Works / Master

SoundS Master Exhibition 21

public exhibition

16–18 July 2021

Photos © Kathrin Scheidt

16 — 18 July 2021

Opening : 15 July | 4 — 6 PM

Exhibition: 16–17 July | 10 AM — 6 PM

18 July | 10 AM — 3 PM

Collegium Hungaricum Berlin

Dorotheenstraße 12

10117 Berlin

Special exhibitions:

14 July | 6:30 PM | Shervin Saremi | Monom | Funkhaus Berlin, Nalepastraße 18, 12459 Berlin

16 July | 8 PM | Enrika Myskovskaja | Panke Gallery | Hof V, Gerichtstraße 23, 13347 Berlin

The second class of the Sound Studies and Sonic Arts Masters program publicly exhibited their master’s theses on 15–18 July 2021 at the Collegium Hungaricum Berlin.

Clara Badulescu

Zero Point

Audio-visual screening with multi channel sound installation

Creation as Self exploration. Short film and multichannel audio installation. Collaboration between Clara Badulescu & Alexia Rubod

Photo © Kathrin Scheidt

Jonathan Bruns

Translation Project Documentation

Installation

The translation project is an experimental composition with a focus on creation through interpretation. A pre-existing piece is re-interpreted into something new using a method of translation.

The project functions as a meeting point for music and photography. A piece of music serves as a starting point to a journey of translation between art forms. The performer(s) are led through a process of translating the music to photography, and then back to music, resulting in the creation of photography and music along the way.

It is impossible to translate a complex matter from one language to another without changing its nature. This composition attempts to translate a piece of art from one artform to another, which is not possible without changing it significantly.

At the heart of the process of translation is interpretation. An individual is confronted with a subject matter, interprets the matter, and then reproduces their interpretation in a different domain. The use of the term “translation” thereby highlights the subjective nature, and therefore significantly emancipated role of the performer/translator as well as the mulit-faceted nature of music and art.

Anders Ehlin

Fidelity || Freedom

Installation

In Fidelity || Freedom Ehlin combines his ongoing research on (mis-)communication and resonance, both in its physical and sociological sense. The title is a direct reference to the two highly debated cornerstones in translation theory, describing on the one hand the wish for translation to be as transparent and unnoticeable as possible, on the other for a translated piece to be acknowledged as a proper derivate and work in its own right, rather utilising reference points specific to itself and its cultural and societal heritage. Fidelity II Freedom consists of a kinetic metal plate fed with a manipulated electro-acoustic feedback, whose fundamental frequency changes in accordance to the plate’s bending shape. The plate responds to hand written input using Ehlin’s great grandfather’s short hand system Ehlin’s Internationella Stenografi, one of the early fully functional multilingual short hand systems, relying on spelling rather than phonemes. Feeding the plate with the signs of a deceased writing system Ehlin not only aims to explore the notion of a translational in-between, but also traces back his intimate history within a framework of communication and multimodality.

Photo © Kathrin Scheidt

Eunice Fong

these buds are made for walkin’

Listening station

An audio guide that accompanies a walk in the city. For non-in-ear earbuds and a smartphone.

Taiga Trigo

Temenos Quest — evidence of what happened

Installation — Last few hours of each day

Documentation, in both hands-on and audiovisual format, of the Temenos Quest; a sound Quest Game for children and adults that took place on the 27th of June in Treptowerpark. The project explored the concept of play and its relation to listening and the experiential education format of the quest game.

Photo © Kathrin Scheidt

Enrika Myskovskaja

Apt.#47

Performance
16 July 2021 | 8 pm

Panke Gallery
Hof V
Gerichtstraße 23
13347 Berlin

An introduction into auditory everyday’s casualty and particularity in personal domestic space. The package contains: individual dweller, homelike space, diy listening apparatuses and looper.

Francisco Petrucci

•\‘.

Installation

•\‘. is an intuitive enhancement of a non-place area of the Collegium Hungaricum, using voice, sound, image, and site specific elements.

Photo © Kathrin Scheidt

Shervin Saremi

Šur

Performance

14.07.2021 | 6:30pm

Monom
Funkhaus Berlin
Nalepastraße 18
12459 Berlin

An algorithmic composition with models based on various chaotic-attractors (dynamical systems whose disordered and cluttering nature are guided by patterns and deterministic laws ) for producing automated sonic and spatial events.

Photo © Kathrin Scheidt

Francis Sosta

Ein prä-apokalyptischer Spaziergang

Mixmedia Performative-Installation

Ein präapokalyptischer Spaziergang is an invitation to turn our attention and listen to the moments before an apocalypse, to the instants just before the end of time. How long is the moment before the final crash? Will the end of time come unnoticed? What if we’re already walking along that ending? Ein präapokalyptischer Spaziergang is a mixed media performative-installation that uses sonic storytelling as a way to both reflect and escape the eschatologism of the end of the world. By bringing the focus back to the present moment as a special ‘space for possibilities’ where we are practicing, instead of resisting the end of time. The work addresses sonic strategies of survival and resilience in a world of rapid social change and crisis. Ein präapokalyptischer Spaziergang is a sonic environment where a spatial exploration and temporal detour are invited by sonic navigation. The work, by acknowledging the interconnectedness of the socio, political, economical, and health crisis we’re living in, also wants to reflect on the role of crisis to challenge the status quo of our global society, informing new methodologies and technologies of repair, whilst generating new sonic kinships. The installation presents works by Francis Sosta, as well as works realized in collaborations with invited artists.

On Saturday, 17 July 2021 from 4–6pm, Francis Sosta invited artists and performers to join the space in an ‘experimental durational performance’. The audience is invited to enter, stay and leave the room freely.

Photo © Kathrin Scheidt

Design © Kathrin Scheidt

Photo © Kathrin Scheidt

Master Defense

30–31 August 2021 | online and live

Monday, 30 August 2021

14:00 pm Sebastian de la Luz Mendoza (Supervisors: Sabine Sanio | Jacob Erikson online)

15:15 pm Hugo Esquinca (Supervisors: Sabine Sanio | Jan Thoben)

16:30 pm Federica Sosta (Supervisors: Sabine Sanio | Shanti Suki Osman)

18:00 pm Shervin Saremi (Supervisors: Volker Straebel online | Thomas Koch online)

Tuesday, 31 August 2021

11:00 am Fausto Luis Perez-Mujica (Supervisors: Hans Peter Kuhn | Julia Schröder)

12:15 pm Clara Badulescu (Supervisors: Hans Peter Kuhn | Martyna Poznanska)

13:30 pm Enrika Myskovskaja (Supervisors: Hans Peter Kuhn | Daisuke Ishida)

14:45 pm Break

15:30 pm Eunice Fong (Supervisors: Daisuke Ishida | Gary Schultz)

16:45 pm Catarina Trigo (Supervisors: Daisuke Ishida | Christiane Hommelsheim + Anna Weissenfels online)

18:00 pm Jonathan Bruns (Supervisors: Volker Straebel online | Daisuke Ishida)

Georg-Neumann-Saal
UdK Berlin
Einsteinufer 43
10587 Berlin-Charlottenburg

SoundS Master Defense 20

admin — Thu, 29 Oct 2020 07:11:00 +0000

Student Works / Master

Master Defense 2020

public exam

29–30 October 2020 | online and live

Georg-Neumann-Saal
UdK Berlin
Einsteinufer 43
10587 Berlin-Charlottenburg

The first class of the Sound Studies and Sonic Arts Masters program, redesigned in 2017, publicly defended their master’s theses on 29 and 30 October 2020 at the Georg-Neumann Hall of the UdK Berlin.

12–1 pm Nicolas Daleman Schröder/Koch

Machine Listening in Theory and Practice
Sonification

1:15–2:15 pm Kassiani Goulakou Kuhn/Schulz
Post-Digital Archive as Compositional Material:A Study on Medical Archives and Internal Body Sounds
Socio-political readings of sound in the pre-phonographic era. The work of Mark M. Smith on 19th century America

2:45–3:45 pm Konstantin Kazhev Kuhn/Poznańska
Language as a Sound Object

Soundwalk and Temporal Aspects of the Artist Practice

4–5 pm Izabel Carnio Teles de Menezes Kuhn/Eriksen
Graphic Notation in multiple interpretations
Amazon´s male white bellbird call and it´s implications within animal acoustic communication

12–1 pm Nina Guo Zyla/Straebel
Jennifer Walshe´s ‘Nature Data’: Realization, Embodiment, and the New Discipline
Sound as Punchline

1:15–2:15 pm David Rimsky-Korsakow Sanio/Straebel
Klangliche Aspekte in Hermann Nitsches orgien mysterien
Obsolete Media: zeitgenössiche Kompositionsstrategien theater

2:45–3:45 pm Auguste Vickunaite Kuhn/Sanio
Slow tempo, solitude and boredom in art and performative thinkingand sound as an instrument for navigating attention in performance
Nonstandard sound design decisions in cinema

4–5 pm Alejandro Mosso Ishida/Kuhn

Compositional strategies with light and sound in installation art
Intrumentality as a condition for liveness in music performance

SoundS Master Exhibition 18 — summer

admin — Thu, 07 Jun 2018 11:00:00 +0000

Student Works / Master

Sound Studies Master Exhibition 18 — summer

public exhibition

7–9 June 2018

7 — 9 June 2018

Graduates of the Master’s program Sound Studies at the Berlin Career College of the Berlin University of the Arts invite you to sound installations and performances in various locations in Berlin from 7–9 June: in various rooms of the UdK BERLIN, in the ID Studios, as well as in the electronic studio of the TU Berlin.

Performances

Carlos Ortiz Ariza — Plato’s Cosmos

Audivisual Installation and VR experience

Based on the famous description of the Cosmos that the Greek Philosopher narrates on The Timaeus, this new experience combines electroacoustic music and 3D spatial sound to immerse the viewer. On the installation for multichannel ambisonics system, one can hear the composition from above, from an objective perspective, as the artist that composed it would usually hear it. Once immersed in Plato´s virtual Cosmos the composition takes new outcomes each time is explored.

https://www.facebook.com/carlos.ortiz.7549185/posts/10155368348647233

https://youtu.be/RvWAjlTTuoc

UdK Berlin

Lietzenburger Str. 45
10789 Berlin
Raum 318

June 7–9 | 2–10 pm

Aude Gouaux-Langlois — Corps sonores

(sounding bodies) Performance

Corps Sonores is a performance piece that explores the connection between one’s voice and one’s physical being. The sonic material used for this performance features a rich tapestry of voices — intimate interviews with real people — whose words were recorded, classified and sonically treated. These voices are then played through a bespoke construction; an interface that has been hand sewn into a unique garment created by Berlin-based New York fashion designer Anna Hieronymus. Creative producer Rodger Brown filmed each of the interviews in turn, and has added his own visual counterpoint to accompany and enrich the final performance.

UdK Berlin

Einsteinufer 43–53
10587 Berlin
EIN112

June 7 | 8 pm

Lena000Yuki — Sonic Illustrations, some

(Installation with performer)

Thinking of sound as a phenomenon possibly found in different media and objects, possibly interacting with various parts of a brain, the installation space contains some of the so called “Sonic Illustrations” in their materiality of the 8th and 9th of june.

UdK Berlin

Einsteinufer 43–53
10587 Berlin
EIN112

June 8+9 | 2–8 pm

Carlos Pablo Villamizar — Vestige

Vestige is a site-specific sound installation located within a big industrial building in the old restricted area of Berlin-Alt-Hohenschönhausen, now used as spaces for artists. The sound installation is located in one of the four industrial stairs which is closed just for the piece (entrance in the ground floor). Using the sound echoes as a mean to perceive spatial information, exploring the psychological and physiological responses associated with the echoes, orienting the experience towards the ability to locate with the sound reflection from the surfaces.

ID Studios

Genslerstraße 13–13a

13055 Berlin

June 7–9 | 3–8 pm

Nicolas Rosero — Still Life

painting and sound installation

“Still Life ” is an installation comprised of five oil paintings and a surround sound composition, that seeks to stress the temporal qualities inherent to such contrasting mediums: the staticity of painting against
the dynamism of sound.

This work is inspired in the classic painting genre “still life” which consists in depicting ordinary inanimate objects, lying on a table and usually against an empty background; it can be said that the subject matter in such paintings is the fall of the light upon surfaces, but also the angle of the light that comes as a time of the day, and thus an image not only about objects but ultimately about moments.

ID Studios

Genslerstraße 13–13a

13055 Berlin

June 7–9 | 3–8 pm

Max Joy — SOUND APPEAL

Der Klang macht die Musik (Ambisonics-Version)
Komposition für Klang-Kuppel und Duft.

Das entschleunigte Hören und Wahrnehmen steht hier im Mittelpunkt.

Pro Aufführung können nur 8–10 Personen eingelassen werden

http://maxjoy.org/projekte/projekte.html

Elektronisches Studio der TU-Berlin
Einsteinufer 17c, 10587 Berlin

June 7–8 | 2 / 3 / 4 / 5 / 6 / 7 / 8 pm

Public Defense

Monday, June 11 | 2:30–6:00 pm | LIE 314

Carlos Pablo Villamizar — Sound echoes as a means of perceiving spatial information

Lena Haberberger — Methods of Sonic Illustration

Carlos Humberto Ortiz Ariza — Plato’s Timaeus: The Creation of the Universe”. Audiovisual composition

Aude Gouaux-Langlois — Corps sonores

Nicolas Rosero — Celebrating the Gap. Limits of Intermodal Perception in Sound and Painting.

Ben Stoiber — SOUND APPEAL — Der Klang macht die Musik

Julio Lugon: Aristotle‘s Jungle

admin — Sat, 05 May 2018 14:39:00 +0000

Student Works / Master

Julio Lugon

Aristotle’s Jungle

Master 2018

Date | time p.m.

Lietzenburger Str. 45
10789 Berlin
Room: 314

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Photo © XXX

SoundS Master Exhibition 18 — spring

admin — Fri, 09 Feb 2018 12:15:00 +0000

Student Works / Master

Sound Studies Master Exhibition 18 — spring

public exhibition

9–11 February 2018

9 — 11 February 2018

Master candidates of the Master’s program Sound Studies at the UdK Berlin Career College present their final works between February 9 — 11, 2018.

Master candidates of the Master’s program Sound Studies at the UdK Berlin Career College invite you to the public lectures, film screenings, performances and exhibition of their final works at various locations in Berlin: at the PETERSBURG ART SPACE, the UdK BERLIN, the gallery TERZO MONDO, and the GREENHOUSE Berlin.

The tenth Master group offers some diverse insight into the various aspects of their involvement with sound, ranging from theoretical works to artistic works and sound installations.

Public Master Defense
UdK BERLIN
Einsteinufer 43–53, 10587 Berlin, room 127

10. + 11.02.2018

Steven Boreham

Ohne Titel

A short film about the narrative interaction between sound & image.
Exactly which film is seen in each individual case depends on the respective listening point of view.

Edoardo Calgari

Fantasia Esotica

Fantasia Esotica is a music album composed, recorded and produced by Edoardo Calgari with his imaginary band, the Applied Arts Ensemble. Fantasia Esotica is a colourful dip into the escapistic nature of post-modern society and its best selling clichés.

Alejandra Cardenas

Sound Databook

installation

The book is an interface that contains datasets that can be amplified with touch.

Jonas Engelmann

(unverständlich #00:00:50–6#)

Subject of this audiovisual piece is the forensic investigation of a police officer’s speech. With the help of noise removal tools I demonstrate how the threshold of audibility can be politically negotiated.

Oliver Hahn

Hyper Reality

Hyper Reality explores the dissolution of the home in the context of recent technological and social developments. As social media challenges the established boundaries between our private and public spheres, does the home remain a relevant concept in our rapidly changing future?

Benedigt Heigle

Fracture 1 Komposition für 3D-Partikelsynthese

In 3D particle synthesis, particle systems can be used to generate large amounts of sound objects in virtual-acoustic space. With this method it is possible to simulate complex, realistic spatial sound scenes.

With a study for twelve particle systems, Benedikt Heigle investigates the question of how to express the fundamental difference between compositional form and sound material within a composition with this sound-generating method. The question of difference refuses the assumption of immediate identity between subject and object and is decisive for the possibility of individuality in the system.
At the same time, it is the starting point for the critique of the functionalization of art, for example in political art. Political art, insofar as here, through the assumption of the sameness of art and positivist and positivist statements, the autonomy of art disappears and the constraint under which the individual stands in the system is denied. Art thus becomes what it does not want to be, even in the political version: a mere affirmative reconstruction of the existing.

Arina Koreniushkina

Demon, for piano player with image audification synthesizer.

The piano piece is based on the Mikhail Lermontov’s poem «Demon» (1842). While playing piano, performer audifies in real time the Mikahil Vrubel’s painting “The Demon Seated” (1890). Therefore the app, which sonifies image, becomes the second instrument in the piece, with which piano player interacts.

Julio Lugon

Aristotle´s Jungle

Electric fans, DIY electronics, light, plants

Predict the voice of a tropical rainforest back in 200 BC.

Non-western philosophy... then.

How to detect a precarious reality in a futural sound material.

A translation device (lie detection machine) connected to a plant gives signal switching on/off 8 prepared sounding electric fans.

Johannes Stegemann

Anthropomorphis

installation

M.A. Schmidt

Echtzeit

Sound installation on the theme of the compatibility of time representation and the passage of time, common time and rhythm.

M.A. Schmidt

Echtzeit

Sound installation on the theme of the compatibility of time representation and the passage of time, common time and rhythm.

Weiju Shen

Future Excavation

installation: clay, sand, transducers, digital display

AI voices resonate in clay bodies, narrating creation myths. Future Excavation intends to create an ambiguous hearing site, where the artificial personas take over the role of the long tradition of oral history and start to tell the folklores of how their creators were created.

Belinda Sykora

Feminae Hysteria

Performance 10.2.2018 | 4:00 pm

A radio play installation by Belinda Sykora, dealing with the tonal phenomenon of

the female voice’s pitch level and focussing on the relationship

among voice, corporeality and female identity. What impacts do culture

shaping, social ideology and gender-specific physiological conditions

have onto the female pitch of voice?

Jonas W.

„And Then We Die“

How do I relate myself to the space surrounding me? How do I navigate my expectations, what I have perceived, imagined, reflected and desired?

The persona Jonas W. confronts himself with three spatial entities. Acoustically, visually, and tactually recoding their inherent qualities to constitute further perspectives and narrations.

Jonas W.

„And Then We Die“

How do I relate myself to the space surrounding me? How do I navigate my expectations, what I have perceived, imagined, reflected and desired?

The persona Jonas W. confronts himself with three spatial entities. Acoustically, visually, and tactually recoding their inherent qualities to constitute further perspectives and narrations.

SoundS Master Exhibition 17

admin — Thu, 02 Feb 2017 13:24:00 +0000

Student Works / Master

Sound Studies Master Exhibition 17

public exhibition

2–7 February 2017

2 — 7 February 2017

This year, from February 2 to 7, the students of the Sound Studies master’s program invite you to public performances, lectures, and an exhibition of their final projects at various venues in Berlin: the Kesselhaus in Berlin-Schöneberg, the Großer and Kleiner Wasserspeicher in Prenzlauer Berg, the WFS Studio at the UdK Berlin, and public spaces in Charlottenburg.

Production: Jacob Eriksen, Lukas Grundmann, Sonja Heyer and Matthias Spreng.
An event of the Master’s program Sound Studies at the UdK Berlin Career College, kindly supported by BRICKS Berlin Schöneberg.

KESSELHAUS

Hauptstraße 27

10827 Berlin

2.2. 18–21 Uhr Opening
3.2. – 5.2. 15–20 Uhr Exhibition Camilla Barratt-Due, burgund t brandt, Christian Cante, Martin Hachmann, Ho-Ming Hsieh, Wiebke Köplin, Georg Paul Meier, Niklas Meier, Andrew Simon Miller, Georgi Tomov Georgiev, Robert Stokowy

3.2. 20 Uhr Performance Paula Schopf

4.2. 20 Uhr Performance Laura Aragoneses Ángeles

5.2. 20 Uhr Performance Kaan Bulak

Sound Studies Master 2017 — Andrew Miller

Sound Studies Master 2017 — burgund t brandt

Sound Studies Master 2017 — Camilla Barrat-Due

Sound Studies Master 2017 — Christian Cante

Sound Studies Master 2017 — Georg Paul Meier

Sound Studies Master 2017 — Georgi Tomov Georgiev

Sound Studies Master 2017 — Ho Ming Hsie

Sound Studies Master 2017 — Martin Hachmann

Sound Studies Master 2017 — Niklas Meier

Sound Studies Master 2017 — Wiebke Köplin

GROßER WASSERSPEICHER

Entrance Belforter Straße

10405 Berlin

https://resonor.wordpress.com

KLEINER WASSERSPEICHER
Entrance Diedenhofer Straße

10405 Berlin

https://www.facebook.com/events/1408097245899462/

3.2. 18–22 Uhr Opening

4.2. 18 Uhr Performance with Hardi Kurda in the installation by Katharina Bévand, großer Wasserspeicher

4.2. – 5.2. 12–20 Uhr Exhibition Katharina Bévand, Robert Stokowy

Sound Studies Master 2017 — Katharina Bevand

Sound Studies Master 2017 — Robert Stokowy

ÖFFENTLICHER RAUM

U‑BAHN STATION ERNST-REUTER-PLATZ

4.2. 14 und 15 Uhr Performance Alexandra Cárdenas