Live-Interview mit Frauke Schmidt zum Sound Design der UdK Modenschau | RBB Kulturradio | 30. Juni – 9.10 Uhr
Wie klingen Wolpertinger? Und wie vertont man eine Mode-Kollektion, die sich an diesem ein bayerisches Fabelwesen orientiert? Die Sound Designerin Frauke Schmidt und der Sound Studies-Studierenden Tamer Özgönenc gehören zum Team, dass für die UdK-Modenschau 2009 das Sound Design entwicklet hat.
Sie stehen im RBB Kulturradio am Dienstag, den 30. Juni um 9.10 Uhr Rede und Antwort – Klangbeispiele inklusive.
Zu sehen und zu hören gibt es die „schau 09“ auf der Mercedes-Benz Fashion Week Berlin am 1. Juli 2009 ab 22:00 Uhr.
Together with some of the members of our scientific advisory council we imagined: What issues could be interesting in future volumes of the book series Sound Studies?
We talked with Florian Dombois, Sabine Fabo, Peter Kiefer and Diedrich Diederichsen about a history of sonification, about a phenomenology of muzak and ambient and about a revision of noise and sound – 100 years after Luigi Russolo.
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.
1. time-delayed jubilations of the crowd in the pub round the corner
2. bicycle-parade in my street after the match germany:portugal
3. the collective screaming (very high pitched) of my female co-viewers right after all critical situations in the german games (followed by a loud laugh of the clique)
Bad Sounds
1. UEFA-jingle
2. firecrackers
3. the silence of some german tv-commentators during the game
Listening again to old Palais Schaumburg-records. Still: great stuff!
And then: NNNAAAMMM.
Thursday:
Screamin’ at the top of my voice and singin’ wholeheartedly with hundreds of others during the great match between Portugal and Germany at the EURO2008. Fun.
Friday:
In the mornin’, thoroughly inspired by a new blog-post by Rainald Goetz, currently still the most important and influential contemporary german author:
(my translation: »Ideal place for the text: on the edge, where it begins to leave literature behind — no matter in which direction — without being thoroughly finished with it. It still seems to be literature, but of a questionable kind: this would be the right wordplace for me, called: beautiful«)
Saturday:
Wow! Four specimens of old, redundant machines play Radiohead’s Nude. Made by James Houston, graduating from the Glasgow School of Art’s visual communication course. Enjoy this ensemble consisting of a Sinclair ZX Spectrum, an Epson LX-81 Dot Matrix Printer, an HP Scanjet 3c and an unspecified Hard Drive array:
Sunday:
The cooling stillness in this very hot day; and the surprising relative silence in town after the victory of the spanish football team over the one under the italian flag. Here come the semifinals!
Listening & dancing to Kaputt in Hollywood, the new single of our former Sound Studies-student Sacha Robotti together with Cord Henning Labuhn as ROBOSONIC.
Listening to Susanne Feld’s new and first (really?) album Musterstücke (2008): recorded in a temporary shop of Berlin fashion designer Ansoho and sewn out of the sounds of tailoring.
Madame Feld is also the authorette of the great and unforgettable saying:
Kunst ist kein Wettbewerb. (»Art is no competition.«)
Let this thought dive into you.
Thursday:
Maybe only slightly off-topic: Thinkin’ about the concept of Neurodiversity.
Friday:
Found time to work on my overview and analysis of Education in Sound: Hearing perspectives in Acoustic Communication for an international publication on Audio Branding, edited by Kai Bronner.
Post-Wittgensteinian Philosopher Ulrich Pothast, an expert in non-rational sensibility, wrote: Das Wichtigste tendiert zur Flüchtigkeit. (read: »The most important self-perceptions show a tendency to be transient.«)
And I wrote and re-wrote all day long the final parts of my lecture on tuesday.
Tuesday:
Hm: I got inspired by the first issue of Field Notes: Writings on Sound by the german label Gruenrekorder, specializing in Phonography (respectively Field Recordings) and Sound Art. (thanks again to my colleague Hanna Buhl for that).
In the evening, my lecture Politik des Klangs (»Policy of Sound«) raised questions about the historicity and corporeity of sensing and acting in a given instance, space and time. Some of the audience members did experience the change in self-perception through the relatively silent parts in the lecture; whereas others seemingly weren’t inclined to react on that. Astonishing!
A dramatic classic that grows and grows by the years. (And not to forget: Benhard Gal’s glorious re-interpretation under the name of : I am sHitting in a room (2002).)
Found time to think and draft a bit more precise my next big lecture on Resonanzkünste (»Arts of Resonance«).
Saturday:
Once again, I enjoyed the perfect soundsystem and the great aural architecture of Berlin’s very own Berghain-club — just around the corner where I live.
Sunday:
Chilled with Ricardo Villalobos playing on Weekend-club’s Rooftop. Great location! And funny silent screens these days that show the current EURO2008-match — without any sound.
