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

////

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.
_

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

Workshop: Readymade series #1 – Metal book

 

Readymade series #1 – Metal book
Friday, March 30th, 2018
2pm – 6pm – workshop
7.30 pm – talk and performances
ES, Kollwitzstrasse 97. Berlin

Workshop realized by Enrico Malatesta and curated by Gaia Martino for Errant Sound.
Artist talk and performances will follow at 7.30 pm.

>> Workshop is limited to max 7 participants, 10€ contribution.
Please write for reservation to gaia@frequente.org <<

Walking in a warehouse, seeking among piles of metal waste, I was looking for objects with a direct and intense potential to create unpredictable conditions of movements and sounds. Very soon, I ventured into how hazy is their current position in human history, from the perspective of use as working tools. Through the lens of human beings – and human language – all of them are not clearly located, they are too much eroded to let us recognize their original role within the productive system of persons and objects, nevertheless they are not broken enough to be considered junk or fragments. They hold unexpressed chances to outline different paths in progress. They can be agents able to disclose a way of being, far away from that one of instruments I’m personally used to. They are strangers to me and I’m stranger to them, and so we will remain.
::
“Readymade series” is an ongoing practice-based research project, developed by Enrico Malatesta through workshops and dialogues. It is an attempt to accord regard to the quality of a world placed outside: things, with their inner corruptive and generative processes. Sound plays here a specific role, it results as consequence of actions and responses in context. It is always under construction, out of a negotiation between person and object in their intra-relation. Sound therefore is the very space to share for actants, it is their autonomous zone of connection. The workshop doesn’t aim at producing sound works, but it’s a mise en place to investigate the vitality of a readymade object – that we call “metal book” – in relation to the person, and their reciprocal potential to move and create sounds events. In order to maintain the differences, we focus on the encounter, the reality experienced from the point of view of two rather than one – within the space created by this estrangement, a practice of dwelling can start to take shape. Here is not the ontology but the duration and the process to be in count. It’s the intimate, the movement and the phenomena, the reality regenerated by reciprocal vitality, position by position, word by word.

Writing and recording are further media involved to investigate and inform the performativity of dwelling in the autonomous zone of connection, while mantaining the subtile fragility of estrangement. According to anthropologist Tim Ingold, the perspective of dwelling is basic to understand any actions, while this is not a mere capacity of accomplish a sequence but a feature belonging to the entire set of relations among the actants in place: as individuals, we are not rappresentations but knots, resulting from the kaleidoscope of place-specific relations.

enricomalatesta.com
frequente.org

With the support of the Prize ON BOARD 2017 promoted by MiBACT Ministry of Cultural Heritage, General Directorate for Contemporary Art and Architecture and Urban Suburbs and by GAI – Association for the Circuit of the Young Italian Artists.

A special thanks to Alessandra Eramo and Brandon LaBelle

 

Galapagos-Kreuzblende/Galapagos-Crossfade

Dienstag, 13. März,  19.30 h /Tuesday March 13th, 7.30 pm

Radiokunst: Präsentation und Diskussion/ radio art: presentation and discussion

in Kooperation mit der Hans-Flesch-Gesellschaft für akustische Kunst.

Galapagos-Kreuzblende. Ein Klanghybrid / Galapagos-Crossfade. A sound hybrid

Von Antje Vowinckel
Komposition und Realisation: die Autorin
Produktion: SWR Ars Acustica 2017

Länge: 36 Minuten

Mit: Frank D. Steinheimer, Ornithologe und Leiter der naturwissenschaftlichen Sammlung an der Universität Halle an der Saale

Als Charles Darwin die Galapagos-Inseln bereiste, entdeckte er Tierarten, die nur dort existierten und perfekt an ihre Umgebung angepasst waren. Sie inspirierten ihn später zu seiner Evolutionstheorie. Andere Wissenschaftler reisten ihm nach und sammelten Beweise: Sämtliche Vögel einer Insel wurden beringt und jahrelang beobachtet. Dabei stellte sich heraus, dass auch Gesänge bei der Artenbildung eine Rolle spielen. Antje Vowinckel simuliert in ihrer Klangmutation eines ornithologischen  Gesprächs, wie sich das in langen Zeiträumen auswirken könnte.

On his journey to the Galapagos Islands Charles Darwin discovered species that only existed there and were perfectly adapted to their environment. The inspired him for his theory of evolution. Other scientists followed and supplied evidence: all birds of an island have been ringed and observed over years. It turned out, that also the bird songs matter in the process of speciation. In her sound metamorphosis of an ornithological conversation Antje Vowinckel simulates how this could affect the birds songs in a very long period.

(The piece employs German language. A written translation is provided. discussion German/English)

Vorspiel 2018 – Fernblick

Fernblick_Show_Alessandra

27.01.18 18:00 – 22:00 @ Errant Sound Kollwitzstrasse 97

transmediale Vorspiel 2018 / Errant Sound

Exhibition with works by Laura Mello et al., Alessandra Eramo, Brandon LaBelle, Georg Klein

How is human behavior shifting in an age of telematic possibilities? More than ever, the internet offers us ways to know about distant countries and places without the necessity of being there. This new type of access should extend one’s personal experience and sharpen the view onto foreign cultures. Instead, the political trend these days shows that the medial irruption of the unknown into our lives can also create incomprehension and fear of the “stranger”.
In contrast to what google shows under the term “Fernblick” – holiday places with view to beautiful landscapes – the exhibition offers a view into the distance by bringing into focus gestures and actions that form their own environments. Sound and listening are utilised as the means by which to define an artistic position between yearning, memory, homeland.

 

 

Topos: Concert & Talk: Sebastian Edin & Jens Settergren

Satuday 20th January, 9pm

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A die raum special event kindly hosted by Errant Sound featuring Sebastian Edin and Jens Settergren

Programme
Vestiges (Edin, 2017)
Effacement Cycles (Edin, 2017)
Topos (Edin & Settergren, 2018) world premiere

Artist talk / open discussion

This event marks the first international presentation of a collaborative work by Sebastian Edin and Jens Settergren. Working with a tropics-themed found sound library compiled solely from Hollywood feature films, the artists have composed the six-channel piece ‘Topos’. Drawing on notions of the post-acousmatic, the composers deploy a wide range of techniques and formal strategies assembled from the acousmatic and classical western music traditions. With this set of tools, they proceed to sculpt and structure the aforementioned material —thus juxtaposing and reading these divergent auditory fields through one another.

In addition to the premiere of ‘Topos’ the concert will include two pieces by Sebastian Edin, as well as a talk by the artists.

Over the last five years, Edin and Settergren have collaborated intensely on a wide variety of projects including performances, video works and sound installations. Their work draws connections between art, technology, culture and the collective imaginary—debating matters of experience and recollection, memory and writing, and technics and time.

‘Topos’ is a special event in connection with Jens Settergren’s upcoming exhibition in die raum – opening 27.01.2018