IN THE SOUND FIELD. Perspectives on Field Recording — Installations and Performances II

Georg Werner Bikes_breads_car-k.jpg

Photo © Georg Werner

Works by Alessandra Eramo, Georg Klein, Georg Werner, Ines Lechleitner, Jeremy Woodruff, Kirsten Reese, Laura Mello, Mario Asef and Peter Cusack

1.-3.6.2017       Opening times: 18:00-21:00 opening night, 15:00-20:00 exhibition

at Errant Sound, Kollwitzstr. 97, 10435 Berlin

Peter Cusack »Aral Sea Stories: Dagira, golden carp, untraceable artists who restore fishermen to ships stranded in the desert and other tales«
Fifty years ago the Aral Sea in Central Asia was the planet’s fourth largest lake. In the decades since it has virtually disappeared; a victim of disastrous irrigation schemes that extract most of the water from its feeder rivers. However today Kazakhstan is making a surprisingly successful attempt to restore the small part of the Aral within it’s territory. Water levels have risen, native fish species have increased, wildlife is returning and, although slow, improvements to the environment are obvious. The fishing industry is employing local people once more, bringing work to an impoverished and depopulated region.
Since 2013 I have made three trips to the Aral to make field recordings, take photographs and talk to people there. It is an extraordinary region; a vast open landscape with no trees and strong winds. It can reach +50 in summer and -25 in winter.
Aral Sea Stories has no fixed show or installation. I will bring my recordings, photos, stories, performance ideas, and other material to arrange and re-arrange over the 3 days at Errant Sounds. People are invited to hear and see the work in progress.

Georg Werner »Radiophonic Kabul«
The object – an old radio – plays recordings, made sitting in a cab in 2004 during a work trip to Kabul. Simultaneously it transmits the sound over the air via a radio transmitter. They can be picked up by other radios next to contemporary radio programs. Distances both time wise and location wise become important.

Further dates in this Errant Sound series:
Alessandra Eramo »3 Places where I can sing: Songs for Valparaìso«
Ines Lechleitner »Looking for Voices«
Mario Asef »Sozio-Phonon«
Lasse-Marc Rieck (Gruenrekorder, Frankfurt): Lecture
Georg Klein »Le Due Forze di Taranto«
Kirsten Reese »Sound Cards«

IN THE SOUND FIELD. Perspectives on Field Recording — Installations and Performances

Kirsten Reese-k.jpgPhoto © Kirsten Reese

Works by Alessandra Eramo, Georg Klein, Georg Werner, Ines Lechleitner, Jeremy Woodruff, Kirsten Reese, Laura Mello, Mario Asef and Peter Cusack.


Thursday May 18th at 6pm:
Opening of the QR-Sound Gallery

Laura Mello »Rosa dos Sons / Sound Compass (Spaces #2)«
Since 2009 I have been documenting the soundfield in and around my appartment in Berlin. How much and which kind of information is in a field recording documentation? For instance: how much of a sense of space, direction and/or of time (daytime, year season) can one take from field recordings? Is this perception reality or imagination? Past or present?

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Jeremy Woodruff »Sonic Permaculture: Reverberations of the Urban Garden with Performance for Action«
Using sounds recorded at the urban garden in Wedding, “Himmelbeet” and sounds of an urban garden in Bangalore, India, along with a live performance on Kollwitz Str. by Andrew Noble (under the auspices of Performance for Action) during the opening on Thursday, this installation investigates urban soundscapes as they intersect with garden initiatives and community organizing. The concept of sound remix as re-imagining economies of urban interaction is a focal point, as live and prerecorded soundscapes are intermingled.

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at Errant Sound, Kollwitzstr. 97, 10435 Berlin

Further dates in this Errant Sound series:

Peter Cusack »Aral Sea Stories«
Georg Werner »Radiophonic Kabul«

Alessandra Eramo »3 Places where I can sing: Songs for Valparaìso«
Ines Lechleitner »Looking for Voices«
Mario Asef »Sozio-Phonon«

Lasse-Marc Rieck (Gruenrekorder, Frankfurt): Lecture
Georg Klein »Le Due Forze di Taranto«
Kirsten Reese »Sound Cards«

Opening times: 18:00-21:00 opening night, 15:00-20:00 exhibition


Artist talk with Ximena Alarcón

Artist talk with Ximena Alarcón
On dis-location: listening and re-composing with others

Friday, May 12 / 8:00pm

Errant Sound
Kollwitzstrasse 97
10435 Berlin

Ximena Alarcón is a UK based Colombian sound artist and Research Fellow at CRiSAP, London. Her practice-based research focuses on the creation of telematic sonic performances and networked environments to expand our sense of place, using field recordings and spoken word in urban and migratory contexts. She is interested in listening to interstitial spaces, such as dreams, underground transportation, and the ‘in-between’ space in the context of migration. To evoke, connect to, and share memories of sonic space her practice involves Deep Listening, telematic sonic improvisation using spoken word and everyday sonic environments, and the creation of online interfaces for relational listening that expand our sense of belonging and place.

She has a PhD in Music, Technology and Innovation, from De Montfort University, awarded in 2007 for the Thesis “An Interactive Sonic Environment derived from commuters’ memories of soundscape: a case study of the London Underground”. She was awarded with the prestigious Leverhulme Early Career Fellowship 2007-2009 for the post-doctoral project “Linking urban soundscapes via commuters’ memories”. She gained a Deep Listening Certificate in 2012 by the Deep Listening Institute. Since 2011 she has been Research Fellow at Creative Research into Sound Arts Practice (CRiSAP), London College of Communication, where she develops ‘Networked Migrations’ project, looking at the in-between sonic space in the context of migration through the practices of telematic sonic performance and Deep Listening. In 2015 she launched with Cathy Lane the project ‘Sound Matters Framework’ which explores the interrogation and relational playback of Field Recordings and Speech. Now Ximena is focusing on the creation of Interfaces for Relational Listening.

Her art projects include: the online environment Sounding Underground (London-Mexico-Paris); and Networked Migrations – a series of telematic performances exploring, through Deep Listening migration and dislocation, in UK, Colombia, Mexico, Troy, France, Linz and Bangalore. In 2015 she had an art residence for the Srishti Interim 2015, at the Srishti Institute of Art and Design, in Bangalore – India. Her last performance Suelo Fértil [Fertile Soil], commissioned by UNESCO, became a telematic sound art collective for migrant women.

Ximena has been a course leader and lecturer for the MA/MSc in Creative Technologies at the Institute of Creative Technologies (2010 and 2013), and has taught in various courses of Arts, Humanities and Design at De Montfort University, and the Universidad Externado de Colombia. She currently teaches at the BA and MA in Sound Arts at the London College of Communication and a tutor for the Deep Listening Training Program at the Center for Deep Listening at Rensselaer Polytechnic Institute.


May 8th, 7pm, performance Ian Hatcher (NY)

Record-Release / Performance / Talk:

IAN HATCHER – “Drone Pilot”
Cosmosmose Edition

Kollwitzstr. 97, 10435 Berlin – doors: 7 pm, performance 7.30 pm, no entry
later: talks with Ian Hatcher, Marc Matter, Antje Vowinckel, Swantje Lichtenstein

A presentation of the first release in the new established ‘Sound Writings’ series: Drone Pilot by Brooklyn-based writer, sound artist, and programmer Ian Hatcher (*1983). His work explores cognition in the context of digital systems. While studying Digital Language Arts at Brown University, he came up with his own propositions in this field: the way he trained his own voice, prosody and word-flow to mimick the qualities and even glitches of speech-synthesis is extremely suitable for a realization in sound; he states:
“Drone Pilot is a work of voice/sound poetry about a person who becomes part of a huge impersonal war machine, connected to a network of power and violence, which ultimately erases the person’s individuality. My work is focused on the entanglement of humans and machines. I’m interested in how a mind can be imprinted with digital logic, and how digital and human memory can extend each other. I perform my work with just my voice, without electronics, but electronics are always present, in the aesthetics of the performance and the electrical currents of the body.”

Sound Writings is a subdivision of cOsmOsmOse, dedicated to contemporary works of Text-Sound-Poetry. cOsmOsmOse has the aim to present (festival) and document (publishing) contemporary artists who work in the field of Text-Sound-Poetry.
It was founded by Swantje Lichtenstein and Marc Matter (Artistic Direction), Assistance by Friedemann Dupelius.

Affective Listening workshop

Affective Listening
A two-day immersive experience of giving time and attention
With Ximena Alarcón (CO/UK) and Thirsty Moon/Ying Le (CN/DE)
Curated by Berit Fischer

12 May 2017, 20h: Colombian artist Ximena Alarcón gives an introduction to her work. Free.

13 -14 May 2017, two-day workshop with Ximena Alarcón (CO/UK) and Thirsty Moon/Ying Le (CN/DE)

(Limited number of participants. Participation on both days is desired. Total fee for both days is €20. Please RSVP to

You are invited to a two-day immersive experience aiming to explore the relation between the micro and macro dimensions of human agency, and test whether changes in the individual can trigger changes in the collective. It furthermore questions the idea of ‘Selbstverortung’ (positioning of the self), and reflects on how one receives and acts upon the world as an affective being. Can the (social) body be decolonised, de-subjectified and propelled to a new subjectivation through creating heightened awareness and critical consciousness in both the individual and collective bodies? “Affective Listening” is a concept and holistic methodology by Berit Fischer that works between action and reflection, in which the cognitive reciprocally intertwines with the non-semiotic, the sensual and experiential. Can “affective listening” be a practice for agency? Can we share a code of collectivity? How can an art space be embodied? What kind of knowledge and new codes can affective listening produce? The two days will experiment with creating alternative realities through embodied and sensual exercises, along with theoretical readings and dialogue, exploring resonance and “Affective Listening.”

13. May 10 – 17h: Day 1 – Deep Listening with Ximena Alarcón
Deep Listening practice was developed by experimental composer Pauline Oliveros and is a unique approach that strives for a heightened consciousness of the world of sound and the sound of the world: “It cultivates a heightened awareness of the sonic environment, both external and internal, and promotes experimentation, improvisation, collaboration, playfulness and other creative skills vital to personal and community growth”.
Colombian artist and certified Deep Listening Tutor Ximena Alarcón will engage in Deep Listening, which she describes as “an inclusive and embodied practice of attention to all the possible sonic aspects that can be experienced.” Deep Listening reflects on connections to the Self, to the Others and to the environment, enlarging our sense of belonging and space. Through Deep Listening practice, we will be guided to experience inner and outer listening, to expand our individual and collective awareness, encountering many possible audible forms, beyond ordinary sound perceptions in daily life. It will encompass listening to interstitial spaces like one’s own thoughts, imagination, dreams and listening to listening itself.

14 May, 13 – 17h: Day 2 – Discursive Teahouse with Thirsty Moon/Ying Le
In ancient Chinese culture, the teahouse was often associated as a place for sharing ideas, for literature, arts, and philosophy and a place where social rank and political allegiances were temporarily deferred for an open conversation. Still today, the teahouse and communal tea consumption is of cultural importance; the tea’s potencies encourage conviviality and open exchange. On the ground of believe that one’s state of mind or attitude can be passed easily to the Others, mutual respect and appreciation for nature is essential to the spirit of a tea ceremony.
Chinese artist Ying Le and co-founder of Berlin’s tearoom Thirsty Moon will immerse us in the experience of collective tea drinking. She will introduce us to a tea ceremony as a communal place of exchange, in which our senses and consciousness will become amplified. Le will be sharing the experience of complex properties of tea leaves of the purest quality from cultivated ancient wild tea trees in Yunnan, China. Her way of serving tea is informed by the Chinese Gong Fu tea ceremony, based on the notion of dedicating “time and effort.” Having been interested in the relation to nature, the rituals and the social and bodily dimensions surrounding the potential of drinking tea, she states “We would like to see how the deepened social consciousness embedded in tea interacts with our present environment. Drinking tea is a means of participation.” (
In addition, the Discursive Teahouse will encompass holistic methodologies of “affective listening” guided by independent curator and yoga teacher Berit Fischer. They will include exercises of mindfulness, meditations and communal reading of related theoretical writings as a cognitive impulse to reciprocally intertwine with the sensual experiences.

The Affective Listening project is part of the Radical Empathy Lab (REL), founded by independent curator Berit Fischer as an ongoing research laboratory that moves through time and place as a question, a slogan, an intervention, as situations, actions, as encounter and as place that allow the laboratory to explore how the curatorial can activate a micropolitical and holistic making of socio-communal empathy. REL aims to experiment with embodied/somatic approaches for creating critical consciousness in which the cognitive reciprocally intertwines with the non-semiotic, the sensual and experiential. REL investigates the relation between micro and macro dimensions of agency, as practices of freedom, self-empowerment that decolonize and de-subjectivate the (social) body and its relationality to the Other.

Participation on both days is desired. The fee for both days is €20. Please RSVP and tell us a bit about your background and your interest in the topic. Please send your mail to:

Yan Jun / Acoustic Dance

Yan Jun / Acoustic Dance

Friday, February 24 / 19:00 – 21:00 *multiple performances staged for an intimate group


Some simple, slow and amateur body movements I call dance. Intended to diffuse little sounds from steps, cloth, joints, skin and somehow the environment (and audiences themselves) to and through and among the audiences. Maybe also an excuse of enjoying some weird and nonsense behaviour. It’s developed from improvised music performance which I realize the performers are neither expressing anything through bodies nor playing with still bodies. There are always something come after the meaning and the intention. There is no such thing as pure acousmatics, as long as there is body which constantly transforming energy and language between its inside, outside and interface.

acousticdanceyan jun, musician and poet. born in lanzhou in 1973. based in beijing. currently lives in berlin for artist residency (daad). he is working on improvised music, experimental music, field recording, organizing and writing. alongside of at venues, he goes to audience’s home to play with the environment and what else available in the room (Living Room Tour project). and doing noise hypnotizing at any place for small amount of audiences. also amplifying body movements or other performative elements in a simple manner. he is member of FEN, Tea Rockers Quintet and Impro Committee. and founder of the guerrilla label Sub Jam.

Kirsten Reese r.d.l. – automatic creation

15.2. 19:00

r.d.l. – automatic creation

As part of Transmediale/Vorspiel please join me for 3 hours 44 minutes (19 – 22.44)

A 3 hours and 44 minutes long installation-performance with sounds made in a process of ‘automatic creation’, daily sketch-like work with sound processes and sound transformation, following up and re-working micro-results by manipulating software in extreme parameters. Interspersed are sound objects, also processed live. The piece is projected through small speakers with different acoustic characteristics spread throughout the performance space. What originates from the artists mind, what from the depth of the digital software, what from the physicality of the speaker?


One could think that conceptualism – both as a movement and artistic tendency – had never existed in contemporary music. There is no mention of this phenomenon in the vast literature on the history of the 20th and 21th century musical practices. Although conceptualism is primarily associated with the visual arts, let us not forget that its origins lie in music, e.g. in the musical experiments of John Cage and New School For Social Research, or Henry Flynt, who coined the term concept art.

In the current Glissando #29 issue we take a look at conceptualism understood as artistic experiments, which are no more limited to the creation of new forms or “material progress”. We focus on the practices subverting the conventional model of musical work or artwork in general and thus going beyond the traditional domain of aesthetics. The purpose of these practices is to redefine ontological, epistemological, and ethical problems.

Our Berlin presentation of the issue, co-organised with Errant Sound collective will include lectures, panel discussion, the exhibition posters created by Kama Sokolnicka, presentation of the label AltanovaPress as well as a concert by Lucio Capece, Heather Frasch, Joseph Kudirka and Koen Nutters.


1) Introduction to the #29 issue of Glissando – „Conceptualism” (Paweł Szroniak)
2) Lecture: „Impossible music” and Polish conceptual art of the 60’s and 70’s (Antoni Michnik)
3) Label presentation of Altanova Press (Paweł Szroniak, Zorka Wollny)
4) Panel Discussion: Musical Conceptualisms (Sebastian Berweck, Heather Frasch, Joseph Kudirka, Hanne Lippard – moderation: Monika Żyła, Paweł Szroniak)
5) Preview of the issues #30 & #31 (Daniel Brożek, Antoni Michnik)
6) Concert: Lucio Capece, Heather Frasch, Joseph Kudirka, Koen Nutters (pieces by Ryoko Akama, Allison Knowles, Mark So).

Date: 04.02.2017 (Saturday)
Time: 18:00-20:30
Place: Errant Sound
Kollwitzstr. 97
10435 Berlin