Beim Treiben im Netz, mit der Spree im Kopf, bin ich ein paar Mal um die Sea-Organ in Zadar herumgekreist. Angetrieben durch den entstehenden Luftdruck beim Pegelhub der Wellen, könnte man deren Prinzip als Sonifikation des Wellengangs bezeichnen.
Sollten die Ufer der Spree auch mal sozum Klingen gebracht werden, weiß ich nicht, wie ich das dann finden würde. Denn eigentlich klingen Ufer ja bereits, vielleicht subtiler und feiner, je nach Art des Uferrands auch mal üppiger oder ärmlicher. Da fällt mir schwer vorzustellen, dass das andauernd tönende Hauchen mich nicht früh wieder vom Platze treibt. Denn anders als das Plätschern des Wassers, das unablässig variiert, ist den Orgelpfeifen eine immer gleiche Klanghüllkurve eingeprägt.
Gewissermaßen ließe sich dieses Prinzip der Ablösung eines natürlichen Klang durch einen geschaffenen Klang ebenso mit Schafers Begriff der Schizophonie bezeichnen - wenn auch in abgewandelter Form - , und ich stolpere mal wieder über die Frage, ob hier der Ort ist, an dem die Architektur aufhört, und die Klangkunst anfängt?
… dass das iPhone als Performance-Tool entdeckt und verstanden wird. Nun kommen die ersten Entwickler mit ihren Ideen auf den Markt. Ein Beispiel, scratchen auf dem Touchscreen.
After my lecture on Resonanzkünste (»Arts of Resonance«) we discussed with Gertrud Koch, Christiane Voss and Joseph Imorde the implications of an auditive epistemology and science and a sensory and sonic anthropology for art history, for hermeneutics, for film and media studies and – lest we forget – society.
Tuesday:
Listening to the mix I Am Always Reminded Of You by great german blogger and dj Sebastian Maetje from Dortmund; including loads of contemporary fine tracks and mixes by Norm Talley, Tom Demac, Agnès, Phonique, Kiloo, Moodymann, Move D, Matthias Meyer, Robert Dietz and many others.
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Reading in some inspiring essays in the prestigious (and largely australian-based) online-journal fibreculture, e.g. among many others:
As I received two new crowns from my dentist I experienced again how she checked the solidity of the implants by knocking on the steel parts sticking out of my upper-jaws now. Nice feeling, when being a thoroughly resonating proof of quality…
Thursday:
I listened again to the tracks no.5 and 6 called ›i‹ and ›Green Calx‹ on Aphex Twins’ now quite legendary Selected Ambient Works 85-92 from 1993 on R&S-Records de Bélgique.
Friday:
Can this be possibly true? The new Mercedes Benz Soundlogo is not composed? It simply seems to be a completely non-processed sample from Symphony of Voices, a 300,- Euros Sample-CD; go check for yourself:
Saturday:
Read a great description (in german!) of artistic practices and reflections by the german sculptor Katja Kelm.
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A tough rant by Philip Sherburne on Techno and some signs of these times:
The self guided audio tours use the Yahoo map and Google map software to create walks through cities and a text to speech conversion of texts retrieved from Project Gutenberg. The search at Gutenberg has been directed by street names.
Coming home from the gym, after a long day at the office and another workshop, I got into some rhythm that lead me to remembering the legendary track and musicvideo Extra by Ken Ishii from 1995:
In the evening at a meeting of the Interdisciplinary Center for Historical Anthropology in Berlin we continued our discussion of the concept of a sensus communis — widened to the concept of a sensorium commune, a common sensory setting in human beings.
How do and can we perceive that the articulation of an affect or even a pain is truely felt be a person? Do human beings have such a common sensory setting? Are we then constantly in a »mimetic flow« (Christoph Wulf)
In Berlin Friedrichshain-Kreuzberg today all citizens could vote, if the so-called Mediaspree-area will be built: The renewal of this eastern harbour area is modelled after the renewal of London’s Docklands or Hamburg’s Hafencity. This investor-driven project of Berlin’s urban planning thoroughly connected to Berlin’s city marketing would change the face and population of this area forever.
Here is a tiny and pretty convincing videoclip of the initiative against all this called Mediaspree versenken (»Sink Mediaspree!«):
Rereading Das Hörspiel. Mittel und Möglichkeiten eines totalen Schallspiels (1961; »The Radio Play. Means and Potential of a total Soundplay«) from Friedrich Knilli:
»Der Raum entpuppt sich als ein Resonanzkörper mit unbegrenzten Klangmöglichkeiten.
Man könnte sich kämpfende Raumklänge als Hörspiele denken.«
(my translation: »Space appears to be a sound box with an infinite potential to sound. One could imagine fighting spatial sounds as radio plays.«)
In the seminar on Klang=Theorien (»Sound Theories«) (and later again with Sabine Sanio after her lecture here at Sound Studies Berlin) we discussed the cultural and historical differences of terms like Klangkunst, Sound art, Audio art and others.
Wednesday:
I enjoyed the nationwide anti-climax as image and partially also sound were missing in the transmission of the first semifinal with the german Nationalmannschaft.
Thursday:
I opened the window in my office space. Me and my students, we enjoyed during office hours some sore belling of a trombone from across the backyard.
Or was it a badly played didgeridoo? I suppose it was just a construction machine.
