The Errant Bodies project space is operating under a new name – Errant Sound. You can find our activities here: https://errantsound.wordpress.com
Map Series / Ana Mendes
Jeremy Woodruff and Susanne Matsche – New recordings of India
An exhibition and presentation of sound and experience in Chennai, India from Jeremy Woodruff and Susanne Matsche, new works exhibited from Nakul Krishnamurthy, Sukanyan Sunthareswaran, and Zeeshan Nabi.
WUNDERBLOCK. Gespräche über Bilder
Mit fluctuating images. contemporary media art, Cornelia Lund & Holger Lund, zu Gast bei Errant Bodies – Projektraum für Klangkunst.
Moderation: Andreas Rauth
Am 13. Mai spricht Andreas Rauth mit Cornelia und Holger Lund über Theorie und Praxis des zeitgenössischen Feldes audiovisueller Kunstproduktion, der Landscapes of Sound & Image.
Mehr Informationen: http://www.jitter-magazin.de/wunderblock-no-21-landscapes-of-sound-image/
Pirate/Public #4
Barry Bermange was born in London 1933, where he still lives. He developed his first radio pieces in the BBC Radiophonic
Pirate/Public #3
: positions in contemporary radio art / Positionen aktueller Radiokunst
Sonifikation in der Musik
Pirate/Public #2
L’intru (Invaders)
Pirate/Public – positions in contemporary radio art / Positionen aktueller Radiokunst
What’s the difference between a pirate and a privateer? It’s not the act, it’s the authority. Only the privateer – who seems to be acting purely on his own initiative – has the papers authorizing him to do so. The histories of broadcasting and maritime law are closely intertwined, as we can tell from their similar forms of organization. Radio has its public and private branches, and its pirate ones too. But these clear distinctions are no longer valid in today’s radio landscape. Podcasts, web archives and the internet have caused shifts in content types, listening areas, audiences and jurisdictions. So is something being commandeered? If so, how? And most importantly, what?
A travers le savon. Erweiterte Übersetzung in Ton, Bild, Gesten und Geruch – Performance by Ines Lechleitner