Thursday, 18 April 2013
GendyTrouble
Contrary to popular belief, programming sound in environments/languages such as Supercollider is not just for boys and recent evidence shows how it can deal with both advanced sound synthesis techniques such as dynamic stochastic synthesis (Gendy - Génération Dynamique Stochastique - as conceived by Xenakis in 'Formalized Music') as well as broader cultural issues in particular the studies of gender and gendered repesentation in one fell swoop.
Saturday, 19 January 2013
The Death of Rave @ CTM.13
My contribution to the CTM.13 discourse & music program for "The Golden Age" this year was based around the idea "The Death of Rave" (as originated by V/Vm and revived in its own way by the Boomkat sub-label of the same name).Fri 1st Feb
Kunstquartier Studio 1 Mariannenplatz 2 10997 Berlin
Lectures and panel with Mark Fisher, Lee Gamble, Alex Williams, Steve Goodman (Kode9)), Moderation: Lisa Blanning
“The rave legacy no longer lives on, the corpse of rave bears no resemblance to those heady days in the late eighties and early nineties.”
V/Vm – The Death of Rave
Since V/VM's nineteen hour “The Death of Rave” project marked a nails-in-the coffin moment to the foregone UK-rave scene, as well as Burial's symbolic post-rave comedown and, more recently, Lee Gamble's dissection of old jungle tapes, a collective subliminal interest in excavating the sonic architecture of this period seems particularly rife. From the ebullient dissent of the outdoor hardcore and acid house raves, through the period post-1994's Criminal Justice Act which harboured darker variants of jungle, darkside, and drum 'n'bass, the sonic potentialities which unfolded themselves then have undeniably flowed strongly in the bloodline of UK music ever since. Using the “then” and “now” as points of flight, a complex social and musical ecology emerges in which, over a period of more than twenty years, musical aesthetic as well as substantial socio-economic, materialistic, and structural changes have become apparent. Drawing on debates on the “hardcore continuum” and “hauntology” as detailed by Simon Reynolds and Mark Fisher among others, The Death Of Rave focuses on the sonic cycle of death and rebirth, reflecting on the present and future of music via the past.
The accelerated vectors activated by rave and philosophy in the mid-1990s can be no-better represented than in the work of the CCRU (Cybernetic Cultural Research Unit). Although official word maintained, "Ccru does not, has not and will never exist," the work of Nick Land, Sadie Plant, and their graduate students at University of Warwick, which covered the nexus of theory, fiction, cyberculture, technology, and rave, continues to resonate strongly today. The sonic “conceptual apparatus” of jungle, which informed their thought, and the extreme intellectual productivity of the CCRU, invites examination as more than mere coincidence.
http://
15:30 The Death Of Rave: Pt. II Berlin
Lectures and panel with:
Tom Lamberty, Felix Denk, Johnnie Stieler, Alexandra Droener, Ulrich Gutmair, Moderation: Felix Denk
“Es gab einen Moment 1994, wo ich im Tresor stand, da hätte ich heulen können. Jonzon ging das auch so. Nichts mehr von dem, was den Laden ausgemacht hatte, war mehr da. Ich konnte mir das nicht mal mehr schönsaufen. Ich stand da und sah, dass sich die Seele des Ganzen verflüchtigt hatte.”
Rok, quoted in “Der Klang Der Familie”
The unique conditions following the dramatic fall of the Berlin wall created the exceptional socio-political situation in which Berlin's techno scene was born. The euphoria of Germany reunited fuelled its infamous raves Tekknozid, Mayday, Tresor, and Love Parade, and saw the small parties of the early 90s grow to the global techno hub they are today. The inner workings of these early scenes have received in-depth historic interest, recently with Felix Denk and Sven von Thülen's book “Der Klang Der Familie” and Ulrich Gutmair's upcoming “Der Sound der Wende”. In the more than twenty years which have passed, the debate between “underground” and “mainstream” continues within a diverse sonic ecology while the recently hotly disputed GEMA tariff reforms currently threaten the existence of many of Berlin's clubs; as the city transformed into the dynamic capitalist metropolis it is today, the early DIY-days of illegal parties in temporary spaces seem distant compared to the regulated, administered spaces of many of Berlin's most famous clubs today.
QRT (Markus Konradin Leiner) was active in the mid-90s in Berlin. His anarchic media-theoretical writings were published posthumously on Merve. Similarly antagonistic towards the academic establishment as the CCRU in the UK, QRT's writings have hitherto remained somewhat neglected. His writings, inspired by Berlin's early techno scene as the electrification of archaic rituals, the body within the media-war, and the virtualisation of the present, question the current state of techno and techno-culture as part of today's changed discourses.
http://
17:30 Virtual Futures: The Future Of Music
Panel: Christoph Fringeli, Tony Marcus, Luke Robert Mason, Dan O'Hara
“We have gathered you here to bury the 20th century & begin work on the 21st. We are children of the 21st century & live already in the future unknown, uncovering every day vast new landscapes for exploration. We will not know the results of the tumultuous global changes we are undergoing and creating for a hundred years or more, if we can survive them, but we are less interested in knowledge than in experiencing these changes.”
Virtual Futures, 1995
The cybercultural narratives of the mid-90s provided a social, artistic, and philosophical framework to understand and challenge the rapid advances in the development of information communication technologies. Driven by a need to critique the framework underlying society’s newfound anticipation for the future, the Virtual Futures Conference held at the University of Warwick 1994–1996 brought together groups of renegade philosophers to lock horns with the future based on the provocations of evidence provided by the emergence of the Internet. At the time, the conference was affected by a turbulent dynamic between technological acceptance versus a largely paranoid technophobia. Fast-forward to 2013, and this has flat-lined to find the 21st century human docile to the widespread ubiquity of information processing technologies.
Meanwhile, human agency has been subsumed by an increasing automation by non-human agents, as control over identity, society, and economics is relinquished to biases of robotic processes. Techno-evangelism attempts to brand, market, and, most importantly, sell the wonderment afforded by a wilful obedience to the future. They resound with the same transcendentalist fantasies of cyberpunk fiction – indeed speculation and futuristic thinking has become an art, and like any popularist art forms, it has become an industry.
Revisiting 1995’s Future Music panel, Virtual Futures will explore the implications of a new ecology – where music is no longer made but grown, thus demonstrating a quality of artificial life. In 2013 music doesn’t go viral, it is viral. And all the while we are left to question who, or what, is listening?
http://
19:30 Orphan Drift: You Its Eyes 94-13
Screening of video works by Orphan Drift
In this specially commissioned audiovisual work, 0rphan Drift remix their rave-inspired works from the mid to late1990s. This period was characterized by a distinctly analogue, lo-fi materiality. Accompanied by audio from 0D’s Ocosi, Surface and Sadist, and by sound made for the 0D/CCRU 'Syzygy' collaboration in 1999, remixed by CCRU’s Kode9, this screening is a hallucinogenic immersive experience, a meditation on rave, techno culture, and its posthuman potentialities.
http://
Related events:
Rave Undead I
http://
Tue 29th Jan HAU2
20:00 Mark Leckey "Fiorucci Made Me Hardcore" – video screening
20:30 Theo Burt / The Automatics Group "Remixes" – German premiere
21:15 Lorenzo Senni
Rave Undead II
http://
Fri 1st Feb BERGHAIN
Conor Thomas, Samuel Kerridge, Shed, Powell, EVOL, Andy Stott, Mark Archer (Altern 8), Lower Order Ethics
Monday, 3 December 2012
Techno Ecologies - Acoustic Space #11
To my surprise, I found an article I had submitted had been published without anyone telling me, or giving me the chance to correct any errors. Oh well, my first publication though!

Electronic Voice Phenomenon – a C21st Sonic Fiction
Annie Goh
Abstract:
In the as-yet unwritten history of Sonic Fiction, dating back to the beginning of the world (sound of the big bang), via the speculative sonic experiences of our palaeolithic ancestors (Archaeoacoustics), Electronic Voice Phenomena can be regarded to appear as an irrelevant anomaly, a practice of paranormal fanatics trying to prove the supernatural through the voice-like artefacts of auditive media. However, it will be supposed that with a deeper media-archaeological understanding of techno ecologies, particularly dealing with Sonic Fiction since the proliferation of schizophonia (R Murray Schafer), taking crucial MythScience impetus from Kodwo Eshun's “Operating System for the Redesign of Sonic Reality”, Steve Goodman's third concept of “unsound” - that is, “sounds not yet heard”, and Vilém Flusser's zero-dimensional “techno-imagination”, it is proposed that EVP can in fact be understood as an organic consequence of the complexities of the technologized contemporary psyche, particularly given the specific characteristics of the auditory imagination.
http://renewable.rixc.lv/?p=966

Electronic Voice Phenomenon – a C21st Sonic Fiction
Annie Goh
Abstract:
In the as-yet unwritten history of Sonic Fiction, dating back to the beginning of the world (sound of the big bang), via the speculative sonic experiences of our palaeolithic ancestors (Archaeoacoustics), Electronic Voice Phenomena can be regarded to appear as an irrelevant anomaly, a practice of paranormal fanatics trying to prove the supernatural through the voice-like artefacts of auditive media. However, it will be supposed that with a deeper media-archaeological understanding of techno ecologies, particularly dealing with Sonic Fiction since the proliferation of schizophonia (R Murray Schafer), taking crucial MythScience impetus from Kodwo Eshun's “Operating System for the Redesign of Sonic Reality”, Steve Goodman's third concept of “unsound” - that is, “sounds not yet heard”, and Vilém Flusser's zero-dimensional “techno-imagination”, it is proposed that EVP can in fact be understood as an organic consequence of the complexities of the technologized contemporary psyche, particularly given the specific characteristics of the auditory imagination.
http://renewable.rixc.lv/?p=966
Sunday, 7 October 2012
electromagnetic microcosm @ klangstaetten | stadtklaenge - Braunschweig
“Franz
Anton Mesmer called it animal magnetism; Charles von Reichenbach
called it odyle. To Henri Bergson it was the elan vital, the "vital
force;" while to Hans Driesch it was the entelechy . Sigmund
Freud observed its functioning in human emotions and termed it
libido. William MacDougall, the great British - American psychologist
of a generation ago, labeled it hormic energy. Dozens, if not
hundreds, of lesser - known scientists have recognized its presence
and have given it a name to characterize its special properties.
Among the 20th-century proponents of the concept are, for example,
Doctors Charles Littlefield and his vital magnetism and George Starr
White and his cosmo-electric energy . Mechanistic science in the 17th
through 19th centuries embraced many of its essential qualities in
the concept of the ether, while mystical human beings have embraced
other essential qualities of it in the concept of god. Orgone energy
is Wilhelm Reich's name for the substratum from which all nature is
created. The best definition this author can provide for it is this:
Orgone energy is the creative force in nature.”
Charles
R. Kelley
WHAT
IS ORGONE ENERGY
http://www.orgone.org/articles/ax9kelley1a.htm
(accessed
31.1.2012)
Wilhelm
Reich's theory of orgone energy and his related psychoanalytic
practice made him a controversial figure during his lifetime.
Particularly his theories about human sexuality and his unusual
methods of therapy (such as the Orgone Accumulator) made him a target
for attack by conservatives in 1930s and 1940s America. Drawing on
Freud's “libido”, orgone energy took the function of the human
orgasm to be a primary energetic force of life. Though his books were
burned and he was imprisoned at the end of life, his theories were
given new prominence with writers such as William Burroughs and Jack
Kerouac, later being crowned the father of the sexual revolution and
an important figure in the Free Love/Sex-Positive movements of the
1960s and 1970s.
Today,
many issues of sexuality remain largely taboo in mainstream culture
and where Reich's theories clashed with scientific proof and
mainstream medicinal practice, there remain many fascinating aspects
to his thought. For the exhibition, “Klangstaetten, stadtklänge –
Zwischen Puff und Kloster” the work “electromagnetic microcosm”
offers itself as a reinterpretation of this mysterious “life
energy”. The historic red-light district of Braunschweig is for
some perhaps an unrefined area of the city, but its mere existence is
a geographical reminder of basic human sexuality. Though Reich was
explicit that Orgone Energy was not linked to electromagnetism, there
appears currently to be no other methods of measuring or detecting a
possible “life energy”. There are however, many various theories
concerning electromagnetic fields which throw particularly intriguing
questions on how they effect human consciousness.
Many
believe electromagnetic fields have adverse effects on the human body
and brain and even extensive research by the World Health
Organisation has been unsuccessful in either confirming or refuting
the risk of EMFs on human health. The internal or endogenous
electromagnetic field of the human brain, made up of approximately
100 billion electrical neurones, has been speculated to be
susceptible to influences of external electromagnetic fields.
Extremely Low Frequency waves (ELF), particularly those under 20Hz
are considered to be of particular significance. Delta (up to 4Hz),
Theta (4-8Hz) and Alpha (8-13Hz) waves are known in the brain to be
present in states such as slow-wave sleep, drowsiness or arousal and
states of coma respectively. The effect of externally produced ELFs
on our brains acting on our health or behaviour may sound like the
warnings of paranoiacs or conspiracy theories but it remains a
question which modern scientific research cannot yet conclusively
answer.
The
work “electromagnetic microcosm” is therefore an experiment and a
gesture, making some of the electromagnetic fields of our immediate
surroundings visible and audible. The postulated link between the
“life force” and electromagnetic fields is of an experimental
nature, serving as a reminder of the unknown in scientific discourse,
as a story which is constantly being re-written.
At Allgemeiner Konsumverein
As part of klangstaetten | stadtklaenge -
›Zwischen Puff und Kloster‹
Internationale Klangkunst in Braunschweig3. bis 21. Oktober 2012
Curated by Sam Auinger, initiated & organised by Dr. Anne Mueller von der Haegen
Friday, 31 August 2012
Saturday, 18 August 2012
Electronic Ghosts @ Electronic Voice Phenomena at FEED
Electronic Voice Phenomena presented by Mercy at FEED Berlin
SATURDAY 18 AUGUST 2012
An evening of experimental poetics, audio-visual performance and digital vocal plasms
http://www.mercyonline.co.uk
http://www.6554.de
Electronic Ghosts - A ongoing experiment to contact the ghost of Michael Jackson.
The installation Electronic Ghosts uses modern methods of EVP researchers, specifically the 'Speech Synthesis Method', such as that developed by German EVP researcher and software designer Stefan Bion. In this method, the spiritual entity is given auditive 'aids' of raw audio material cut up into small segments. By influencing the order of these, the communicating entity can subsequently form words with which to communicate with living beings. Auditive material sourced exclusively from samples of Michael Jackson reinforces the channels of communication and those with hearing tuned to identify EVP may make out words, phrases or messages.
SATURDAY 18 AUGUST 2012
An evening of experimental poetics, audio-visual performance and digital vocal plasms
http://www.mercyonline.co.uk
http://www.6554.de
Electronic Ghosts - A ongoing experiment to contact the ghost of Michael Jackson.
The installation Electronic Ghosts uses modern methods of EVP researchers, specifically the 'Speech Synthesis Method', such as that developed by German EVP researcher and software designer Stefan Bion. In this method, the spiritual entity is given auditive 'aids' of raw audio material cut up into small segments. By influencing the order of these, the communicating entity can subsequently form words with which to communicate with living beings. Auditive material sourced exclusively from samples of Michael Jackson reinforces the channels of communication and those with hearing tuned to identify EVP may make out words, phrases or messages.
Thursday, 19 July 2012
Limited Limitlessness - New findings in primitive digital art @ LEAP Berlin
Limited Limitlessness
New findings in primitive digital art
Following the utopic high of the nascent cyber age in the 1990s, came a natural slump in the emotional well-being of the subjects of the digital era. The tireless increases in speed, efficiency, ever sleeker interfaces and ever smaller devices, the spoilt children of this epoch no longer needed to economise with time and memory, as their mothers and fathers did. Plentiful memory space, processor speed, not to mention the "information" itself which is stored, duplicated, re-distributed via innumerous communication paths creates a vast horizon of possibilities which we now have at our finger tips. Yet instead of inducing the elation expected at these bountiful resources, it seems to the contrary to often stifle in its unendlessness.
Aware of the technological superiority of their computer companions, humans have begun to notice an unerring tendency, a savvy post-humanism which seeks to recompensate lost essences by favouring the indiscrete over the discrete. At the same time, the hypocrisy is clear as the everyday dependence on our technological devices increases, a love-hate man-machine relationship. Such is the state of digital existentialism which contributes heavily to today's first world anxieties. Techno-pornographic media arts accentuate this simultaneous fascination and disgust which presents itself as difficult to avoid.
The exhibition "Limited Limitlessness - New findings in primitive digital art" aims to expose these internal contradictions as well as embrace that which technology cannot or does not do. Amidst the practice of sterile media art, we find ourselves both as critical recipients and as propagators thereof. The works of the exhibition explore aspects of the artists' own primitive urges within computer-based art.
Participants:
AEAEAEAE and Stian Korntved Ruud, Yair Elazar Glotman,
Annie Goh, Sascha Hanse, Petja Ivanova
Karin Lustenberger, Tobias Purfürst and Pierce Warnecke
Opening Friday 20.07.2012, 20:00
Exhibition 21.07.-03.08., 12:00-18:00 Wed-Sat
Finissage 03.08., 20:00
http://www.leapknecht.de/
New findings in primitive digital art
Following the utopic high of the nascent cyber age in the 1990s, came a natural slump in the emotional well-being of the subjects of the digital era. The tireless increases in speed, efficiency, ever sleeker interfaces and ever smaller devices, the spoilt children of this epoch no longer needed to economise with time and memory, as their mothers and fathers did. Plentiful memory space, processor speed, not to mention the "information" itself which is stored, duplicated, re-distributed via innumerous communication paths creates a vast horizon of possibilities which we now have at our finger tips. Yet instead of inducing the elation expected at these bountiful resources, it seems to the contrary to often stifle in its unendlessness.
Aware of the technological superiority of their computer companions, humans have begun to notice an unerring tendency, a savvy post-humanism which seeks to recompensate lost essences by favouring the indiscrete over the discrete. At the same time, the hypocrisy is clear as the everyday dependence on our technological devices increases, a love-hate man-machine relationship. Such is the state of digital existentialism which contributes heavily to today's first world anxieties. Techno-pornographic media arts accentuate this simultaneous fascination and disgust which presents itself as difficult to avoid.
The exhibition "Limited Limitlessness - New findings in primitive digital art" aims to expose these internal contradictions as well as embrace that which technology cannot or does not do. Amidst the practice of sterile media art, we find ourselves both as critical recipients and as propagators thereof. The works of the exhibition explore aspects of the artists' own primitive urges within computer-based art.
Participants:
AEAEAEAE and Stian Korntved Ruud, Yair Elazar Glotman,
Annie Goh, Sascha Hanse, Petja Ivanova
Karin Lustenberger, Tobias Purfürst and Pierce Warnecke
Opening Friday 20.07.2012, 20:00
Exhibition 21.07.-03.08., 12:00-18:00 Wed-Sat
Finissage 03.08., 20:00
http://www.leapknecht.de/
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