Augmented Spatiality

FASE 8:
Augmented Spatiality
Non-Site (A conversation)

Participants:
Rocío Calvo
Juan Cantizzani
Marina Hervás
Martyna Poznańska

Curator:
María Andueza

3-7 December: Internal work of the group of participants

Public opening: 7 December, 19:00h
Gallery hours: 8, 14, 15 December, 15:00 – 18:00h

Sound is crucial in the definition of public space today. Through listening, sound stimulates participation in the territories we inhabit. Even if listening is unconscious for many, sound is still affecting our bodies and influencing our experience of a public space. By appearing and occupying unexpectedly a space, sound is able to create one of the temporary autonomous zones that Hakim Bey coined. This way sound appears as a tangible presence in the space that evades the structures as they are usually conceived and contests the temporality and spatiality of the public. In these situations, considering sound beyond hermeneutic listening brings into consideration sound as substance for community and communication.

Non-Site (A conversation) is a collective situation dealing with the public space in relation to the exhibition device. During the first week a group made up by Rocío Calvo, Juan Cantizzani, Marina Hervás and Martyna Poznańska will explore the displacement of the concept of “public” in between the gallery of Errant Sound and the territory of Berlin.

Following the words by Robert Smithson, the proposal is conceived as “a non-trip to a site from a Non-site”. The work-in-progress during the week will consider and jointly explore, through sound interventions and documentation as living matter, the ways of appearing in and occupying out the urban and the exhibition space. Non-Site (A conversation) will be thus built up in the gallery out of the transition from the individual to the common and the round-trip paths between private and public conditions.

https://www.fasefest.org

Doing sounds with things #1 / Janine Eisenächer

Doing sounds with things #1
Lecture and Sound Performance by Janine Eisenächer

Tuesday, November 27 / 19:00

In her new research performance-series Doing sounds with things, Janine Eisenächer explores the possibilities of co-existence and co-creation, of being-with and inter-being with objects and materials through sound and touch. She understands the present materials not as functional objects but as things and matter we live-with, that have their own agency and presence, their specific material qualities, stories and resistances. In Doing sounds with things #1, Eisenächer engages in real encounters, in a care-taking and maybe even conflicting co-llaboration and community-building by carrying out matter-based, sonic-spatial practices with them. In experimentally and playfully creating acoustic „string figures“, with reference to Donna J. Haraway’s book Staying with the Trouble, Eisenächer underlines the generally multi- and inter-sensual and -sensory process of human (inter-)action and perception, including one’s desires and imaginations, and particularly highlights the relevance of sonic-tactile and listening practices, experiences and knowledge in art and everyday life for our world-making and our inter-being and being-with the world.

Parts of this lecture and sound performance have been developed together with cultural scientist Michael A. Conrad (University of Zurich) and were presented in the joint lecture Hearing co-existence: On the spatiality of sound and acoustic desires in objective encounters at the conference Sounding out the Space in Dublin, 2017.

Janine Eisenächer is a performance artist, curator, researcher and writer, based in Berlin. She creates solo and group performances on the subjects of work and collaboration, including related topics such as gender, identity, (post-)colonialism, care and solidarity. Within her performance practice she often works with objects and materials (things), with which she creates sonic spaces through body-generated and material-based sounds, discussing the inter-relations between performer and non-human agents as well as how we perceive and relate to the things that surround us and that we live-with. She presented her works in various Performance Art festivals and events across Europe, in Northern America and Aotearoa New Zealand. In addition to her performance practice, Eisenächer is a part of the artistic-curatorial group Inverse Institution that develops collective practices of institutional critique, and of the political research-group wwwz (wie wollen wir zusammenarbeiten? – how do we want to work together?) with which she researches forms of collaboration in freelance cultural production. She is a board member of the self-organized art space Flutgraben e.V. in Berlin. Eisenächer holds a Magistra Artium degree in Theatre Studies and Comparative Literature (Free University of Berlin) and wrote her thesis on material-based sounds in Performance Art. She currently researches on Performance Art-related sonic and action-based knowledge(s).

The Political Possibility of Sound

The Political Possibility of Sound: Fragments of Listening

Book launch with Salomé Voegelin, including performances by Mollin+Voegelin and Khaled Kaddal

Sunday, October 28th / 19:00

Errant Sound, Kollwitzstrasse 97, 10435 Berlin

The essay is the perfect format for a crisis. Its porous and contingent nature forgives a lack of formality, while its neglect of perfection and virtuosity releases the potential for the incomplete and the unrealizable. These seven essays on The Political Possibility of Sound present a perfectly incomplete form for a discussion on the possibility of the political that includes creativity and invention, and articulates a politics that imagines transformation and the desire to embrace a connected and collaborative world.

The themes of these essays emerge from and deepen discussions started in Voegelin’s previous books, Listening to Noise and Silence and Sonic Possible Worlds. Continuing the methodological juxtaposition of phenomenology and logic and writing from close sonic encounters each represents a fragment of listening to a variety of sound works, to music, the acoustic environment and to poetry, to hear their possibilities and develop words for what appears impossible.

As fragments of writing they respond to ideas on geography and migration, bring into play formless subjectivities and trans-objective identities, and practice collectivity and a sonic cosmopolitanism through the hearing of shared volumes. They involve the unheard and the in-between to contribute to current discussions on new materialism, and perform vertical readings to reach the depth of sound.

https://www.bloomsbury.com/uk/the-political-possibility-of-sound-9781501312175/

Including a performance by David Mollin and Salomé Voegelin about the precarious lives of hummingbirds, the need for leadership and the sound proofing qualities of ceiling tiles to ensure privacy and the right to speak.

David Mollin and Salomé Voegelin are a Swiss-UK artist collective (Mollin+Voegelin) who have been collaborating since 2008 on projects that focus on invisible connections, transient behaviour and unseen rituals. Their work reconsiders socio-political, architectural and aesthetic actualities through the possibilities of sounds, voices and words, whose invisible mobility invites an individual and collective inhabiting and promotes participation.

&

Khaled Kaddal, “C0DE 03”

According to the American police radio scanner codes, number ‘03’ is an instruction code to switch on lights and sirens in police vehicles. Through the audio/visual performance, the piece implicitly scopes the ecology of fear within political ruptures and riots. Using the sonic qualities of police sirens, generated numbers, red/blue police colours, audio and visual noises. The performance aims to bring the audience to a state of attentive and expanded listening to ‘alert’ and ‘alarm’.

Khaled Kaddal (b.1987) is an artist and musician, raised in Alexandria, Egypt. His broad body of work encompasses cross-disciplinary approach, integrating different mediums including sound, sculpture and moving images for performances and installations. His research-led work often adopt contemporary socio-political aesthetic with the intention to explore the sensory memory (iconic memory and echoic memory) of the human body.

​​Performed and exhibited globally including Sharjah Art Foundation (UAE), Valletta European Capital of Culture 2018 (MT), Palazzo Mora Venice Bien­nale 2018 (IT), Mosaic Rooms Gallery (UK), Dilston Grove Gallery (UK), Townhouse Gallery (EG), Spektrum (DE), Nour Festival (UK), Generate Festival (DE), AltoFest (IT), D-CAF Festival (EG). Presentations at Aarhus University Denmark (DK), IREMAM (FR) and Westminster University (UK). He has awarded grants from Mophradat, the Sharjah Art Foundation, Arab Fund for Art and Culture (AFAC) and British Council. He pursued his master’s degree in Sound Art at the London College of Communication, UAL (2016).

 

DYSTOPIE – Sound Art Festival – Berlin

10 Tage – 20 Projekte – 7 Spielorte
 
ERÖFFNUNGSABEND : Freitag 21. Sept. 2018 (Eintritt frei)

18:00 – Kleiner Wasserspeicher

Begrüßung – Georg Klein, Golo Föllmer, Şirin Özgün

Performance / Installation – Society for Nontrivial Pursuits: UTopologies –
A network of shared influences (Alberto de Campo, Hannes Hoelzl, Christian
Schmidts, Isak Han, Bruno Gola)

Eröffnung der Installationen von Alessandra Eramo, Selçuk Artut und Georg Werner im Kleinen Wasserspeicher

19:00 – Großer Wasserspeicher

Eröffnung der Installationen von Sair Sinan Kestelli, Ipek Gorgun, Jacob Kirkegaard und Georg Klein

20:00 – Errant Sound Project Space

Eröffnung der Installation von Candaș Şișman und der Sound Bar in der Galerie

21:00 – Meinblau Projektraum

Eröffnung der Installationen von Peter Cusack/Katharina Bévand, Ines Lechleitner/Tuçe Erel, Antje Vowinckel und Jeremy Woodruff

Performance – RAW (Selçuk Artut / Alp Tugan): Live Coding A/V Performance

Bar – open end

Zeynep Bulut, “A Case of Tactile Speech”

Sunday, August 19 / 19:00h

As part of the Social Acoustics series, moderated by Brandon LaBelle.

This talk will explore biosensing musical interfaces (such as the BioMuse, developed by Knapp and Lusted 1988; and Xth Sense wearable biophysical technology, developed by Marco Donnarumma 2010-2014) together with histories of electrotactile and vibrotactile communication, speech recognition and synthesis, and voice and touch-driven digital interfaces. Biosensing musical interfaces are interactive and kinetic systems. They comprise sensors that detect performer’s physical gestures and bioelectrical signals, hardware, and software, which amplifies, filters, and digitizes the signals and translates them into audio. With this procedure, biosensing musical interfaces do not simply analyze, control or amplify but they also interactively shape bodily gestures, signals and sounds. The interface here can be considered the mediation of the signals, a process one that is both physical and abstract.

Tracing the seminal works — Music for Solo Performer (Alvin Lucier, 1965), Spacecraft (Musica Elettronica Viva, 1967), and Ecology of the Skin (David Rosenboom, 1970) — composers, performers and music technologists engaged in biosensor and gesture-based interactive performances — such as Atau Tanaka, Biomuse Trio (Ben Knapp, Eric Lyon, Gascia Ouzounian), Laetitia Sonami, Miguel Ortiz, Marco Donnarumma, Baptiste Caramiaux, Rebecca Fiebrink, Frédéric Bevilacqua, Pavlos Antoniadis, Tod Machover, Teresa Marrin-Nakra, Rosalind Picard and Jaime Oliver La Rosa— have examined biosensing musical interfaces drawing on human-computer interaction, digital musical instruments, expressive capacity of embodied gesture, quantitative and qualitative analysis of emotion, notation, affective computing, as well as algorithmic listening, new forms of interactive and collaborative music making, co-agency of machine and human learning, and music, health and wellbeing. Following this lineage, I wish to look at biosensing musical interfaces in a both related and different way.

First, referring to histories of electrotactile and vibrotactile communication and speech recognition and synthesis, I will suggest that biosensing musical interfaces are both touch-driven and voice and speech-driven technologies. Building on this suggestion and examples of biosensor performances, I will consider voice and touch-driven technologies intertwined. Second and last, I will discuss the convergences and divergences between contemporary communication and speech technologies developed for deaf and hard of hearing people (such as the signing gloves that translate sign language into text or/and automated speech) and biosensing technologies developed for gesture-based interactive performances. Despite their different contexts and applications, these two technologies demonstrate some technical similarities in their foundations. However, they have different protocols and implications. The former is invested in so-called “efficient and functional” communication. The latter does not necessarily attempt to transmit or signify a verbal message in particular. It explores expressivity at the core of intentional variation and control of gesture. But what the gesture and the corresponding sound express remains uncertain, interruptive, and evocative. Looking at the speech and biosensing technologies together, I wish to suggest that the expressivity in biosensor performances prompts a different case of tactile speech and voice, one that is not limited to verbal language, human body or vocal cords.

Tactile Speech is a project that Bulut currently develops at the Max Planck Research Group “Epistemes of Modern Acoustics,” led by Prof. Dr. Viktoria Tkaczyk at the Max Planck Institute for the History of Science. The study is part of Bulut’s first monograph, Building a Voice: Sound, Surface, Skin.

For more information about Tactile Speech: https://www.mpiwg-berlin.mpg.de/research/projects/tactile-speech

Zeynep Bulut’s research sits at the intersection of voice and sound studies, experimental music, and sound art. Her book project, Building a Voice: Sound, Surface, Skin, theorizes the emergence, embodiment, and mediation of voice as skin. Her articles have appeared in various volumes and journals including Perspectives of New Music, Postmodern Culture, and Music and Politics. Bulut is a lecturer in music at Queen’s University Belfast, visiting research fellow at King’s College London, and visiting researcher at the Max Planck Research Group “Epistemes of Modern Acoustics.” Prior to joining Queen’s, she was an early career lecturer in music at King’s College London and a research fellow at the ICI Berlin Institute for Cultural Inquiry. She received her PhD in Critical Studies/Experimental Practices in Music from the University of California at San Diego. She is sound review editor for Sound Studies: An Interdisciplinary Journal, and project lead for the collaborative research initiative “Map A Voice.”

Phyto-Semiotics – Plants talking to us and also through us

Sunday 12 August 2018
7pm
ERRANT SOUND 
Kollwitzstrasse 97
10435 Berlin

Our plant think­ing becomes plant speak­ing. From ven­er­a­ble ancient trees to exper­i­men­tal com­post and cloned bananas, this pro­gram voices plants in whose pos­si­ble pasts and futures we, as humans, are both cen­tral and oddly dis­placed.

This pro­gram fea­tures two new per­for­mances com­mis­sioned by Liquid Archi­tec­ture, plus a spe­cial per­for­mance by Plants and Ani­malia (CES and Felic­ity Mangan).

Makiko Yamamoto presents Banana, Tree, Stool, a new suite of lan­guage poems about the pos­si­ble mes­sages fruits and veg­eta­bles from our past, present and future may have to convey.

CES vs Plants and Ani­mals will gen­er­ate a finely tuned quasi-bioa­coustic envi­ron­ment in which bio­chem­i­cal soni­fi­ca­tion of actual plant chem­istry, animal and syn­the­sised sounds oscil­late and sync in bio­phonic arrays.

Nathan Gray presents The Sta­tion, a sci­ence-fic­tional lec­ture-per­for­mance regard­ing humanity’s vio­lence towards the nat­ural world and in which one of the three nar­ra­tors is a tree.

Presented in partnership with Errant Sound

SUPPORTERS

 

“A viva voce: vocal expression at the time of speaking machines”

“A VIVA VOCE: VOCAL EXPRESSION AT THE TIME OF SPEAKING MACHINES

Sunday, 15th July – 7pm
Errant Sound, Kollwitzstrasse 97 Berlin

Artist Talk & Performance event with
Domenico Napolitano (aka SEC_)
Steffi Weismann
Tomomi Adachi
Alessandra Eramo

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Voice has traditionally been considered peculiar of humans and the principle of individuation of each one’s uniqueness. Whatever I say, when I speak I’m always voicing myself.  But what happens when “non-humans” start to speak? Machines, robots, virtual assistants are now speaking ever more fluently and naturally. Is voice donating them human attributes, social consideration, subjectivity? Or are we assisting to the phenomena of a disembodied voice that belongs to no one, a voice “in general”? Not being an object nor an attribute, but an event, voice can happen in many ways, overpassing bodies and boundaries, vivifying objects, machines and natural forces, always on the border between inside and outside. The expression “A viva voce” synthesizes very well this paradoxical power of voice: when pronounced aloud, the dead letters of scriptures become alive, reacquire their spirit. Do nowadays talking machines, radios, computers, speak “a viva voce”? Are synthetic voices preparing us to a post-anthropocentric expressivity?

We will explore all these topics through a talk with musician/philosopher Domenico Napolitano (SEC_) , vocalist/sound artist Alessandra Eramo and intermedia artist/performer Steffi Weismann, who will explain her work with digital voices, and through the performance of vocal artist and sound poet Tomomi Adachi.

www.steffiweismann.de

www.adachitomomi.com

www.toxorecords.com/sec_

www.ezramo.com

May 18th and 25th Tier-Bild-Ton. New soundtracks for silent nature movies

TIER – BILD – TON
new installative and performative sound tracks for silent nature movies of the twenties

May 18th and 25th 2018
bar 7.30 pm / begin 8 pm

We are used to a fairly conventional aesthetic in nature movies’ sound tracks. Their focus is mainly the realistic representation of the depicted scenes with added generic music to  support the drama. For our series seven sound artists aim to create a new relation between image and sound in the representation of birds and plants.

May 25th
Part 2: The Cuckoo – The Pea

  • Steffi Weismann: multiresistent
    interactive performance for objects, voice, electronic and video projection. 2018
  • Thom Kubli: Peas, Cues and Sequences 
    electronics and percussion. 2018

short break

  • Antje Vowinckel: Wieviele Fehler sehen Sie in diesem Bild?
    film-performance for silent fragments, voice and speakers. 2018
  • Ines Lechleitner: Cuckoo’s Cooking
    sound food performance. 2018

followed by public discussion with the artists and Mareike Maage, author and producer at RBB.
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May 18th
Part 1: The barn owl / The strangler

  • Kirsten Reese: Tyoto Alba Archive Soundtrack
    sound and text. 2018
  • Alessandra Eramo:  Her voice becomes cheerful again
    for voice, theremin and electronics. 2018

short break

  • Laura Mello: The Strangler´s Show Episode #1 Shifting Time with the Strangler or ´Cause I´m a Strangler Here Myself  lecture-performance for visual projection, movement, voice, sound, based on the six viewpoints method. 2018

Followed by public discussion with the artists and Mareike Maage, author and producer at RBB.

artistic directors: Ines Lechleitner and Antje Vowinckel

idea: Antje Vowinckel

Supported by Bezirksamt Pankow and inm-Berlin

Tier-Bild-Ton podcast presentation

May 12th, doors/bar: 4.30 pm, start: 5pm

Join us Saturday afternoon for a public listening session of all the podcast compositions of our series Tier-Bild-Ton. Each bird song was the starting point for three composers to work with. Afterwards we will discuss future visions for sound art podcasts with the public.

Compositions (3 minutes each) by: Mario Asef, Boris Baltschun, Peter Cusack, Golo Föllmer, Georg Klein, Ines Lechleitner, Kaffe Matthews, Laura Mello, Kirsten Reese, Antje Vowinckel, Georg Werner

supported by inm-Berlin und Kulturamt Pankow

Sound art Podcast

Please follow us on our podcast page and leave a reply if you like….

Four sundays in April: 8th/15th/22nd/29th

with sound art pieces by: Mario Asef, Boris Baltschun, Peter Cusack, Golo Föllmer, Georg Klein, Ines Lechleitner, Kaffe Matthews Laura Mello, Kirsten Reese, Antje Vowinckel, Georg Werner, Jeremy Woodruff.

errantsound.net/podcast

supported by inm-Berlin and Bezirksamt Pankow