Outstanding Event Ars Acustica II Info

Informação detalhada sobre as peças apresentadas na segunda parte do Dois ao Quadrado

Photo Sensitive 1 - An acoustic portrait of the artist couple Danica Dakic and Egbert Trogeman
Composer: Bojan Vuletic
011.35 min.

Public Broadcasting Service of Serbia
Radio Belgrade
Drama Department
Series: Sound Workshop
Editor: Predrag D. Stamenković
Author: Bojan Vuletić
Director: Bojan Vuletić
Composer: Bojan Vuletić
Sound engineer: Bojan Vuletić
Production: Out-Of-Focus Studio, Dusseldorf, Germany

Predrag D. Stamenković, MA, a composer a conducter, since 2005 is a chief editor of the Drama Program of Radio Belgrade. Since 2000 he is an editor of the radio serial “Workshop of sound”. He used to be a musical editor of the Program 202 of the Radio Belgrade. His solo, chamber, choral and orchestral compositions have been performed in Serbia and abroad. Predrag is also a vocal and instrumental solo performer of the music group “Musica Antiqua”, which is specialized for Middle Age and Renaissance music. Together with the group he performed on more then a hundred concerts all over Serbia and Europe. Many of theseconcerts have been recorded either for radio or TV. He has also taken part inrealization more then 500 radio dramas, someof them have won on prestigious world festivals. The artistic programs he had created represented Radio Belgrad on famous international contestws of radio and TV programs. He has won many prizes in Serbia and abroad. Predrag is a Art director of the annual Festival of spiritual music “Chorus among frescos” in Belgrade. As a conductor of women’s chorus from Šid, he won prizes in 2005 and 2006 on the contest of chorus in Bosnia and Herzegovina.

About the composition
As stated in the subheading this composition is one subjective view on the relationship between the visual artist Danica Dakic and her husband, the photographer Egbert Trogemann.
Both artist were recorded for half a day separately with the same a/b-microphone technique, Egbert Trogemann at his studio and his dark room and Danica Dakic in an intimate room. The sounds from the “photo” session and the “unconscious voice” sessions were edited and only these sounds were used and each just once.
Only manipulations in time and space of these samoles were allowed (e.g. speeding up & down, granulation, juxtaposition, changes of proximity), thereby creating an acoustic picture that is not intended to be a view through one time window at the couple but a look inbetween.

Soloist: Danica Dakic, voice
Soloist: Egbert Trogeman, camera

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More Looks – audio art composition
Composer: Catherine Milliken
Text: William Shakespeare
030.06 min.

Production: ARD – Hessischer Rundfunk, Frankfurt am Main, Radio Drama Department
Producer and Editorial Office: Manfred Hess

Production notes:
“During my journeys through the world I have collected a lot of field recordings: sounds of nature of Australia, where I was born, of Brazil, Europe; sounds of the different cities of Germany where I lived (Frankfurt, Berlin, Cologne), sounds of sites under construction, musical rehearsals or private walks through the cities and countryside. To create a new look to this former “Audio-Impressions” I composed first a piano work called “New Looks” and selected some Sonnets of William Shakespeare. These elements – sampled field recordings, the piano work and the Shakespeare Sonnets – I mixed and edited in a live studio performance using the grammar of photography: cross fading, solarization, blow-up, reprise, snap-shot etc. At the end: My work confronts moods based on improvisation during the live-performance with highly pre-mixed pieces to a very specific audio art composition about time.

Biography:
Catherine Milliken, born in Melbourne/Australia, former member of the famous Ensemble Modern Frankfurt, lives as composer and head of the Education Department of the Berlin Symphony Orchestra in Berlin. She composed for important music festivals, has written 3 operas and various radio works (e.g: “Denotation Babel”, based on a libretto by Helmut Krausser, awarded with Prix Italia 1999 or “House with voices- A radio play chamber opera” based on a libretto of the young German poet Silke Scheuermann, “Award of the German Critics 2009” of the German Culture Council.)

Performers for the entire concert:
Soloist: Catherine Milliken, narrator
Soloist: Angie Milliken, narrator, piano
Soloist: Helmut Becker, sound

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Tjidtjag and Tjidtjaggaise (1986)
Rolf Enström
021.21 min.

A classical radiophonic composition commissioned by Swedish Radio. Rolf Enström's piece 'Tjidtjag & Tjidtjaggaise' (1986) is a fantasy on a shaman's voyage in the shamanistic state of awareness taking its departure in the traditions among the nomadic Sami-people in the north parts of Sweden. 'Tjidtjag & Tjidtjaggaise' was awarded Prix Italia in 1987.
Erik Mikael Karlsson - Producer- Swedish Radio Ltd

More information: http://www.ebu.ch/musd/87939.pdf

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The Galvanos
Paul Panhuysen
074.37 min.

Ensemble Piece 1 - 006.08 min.
Solo Mario - 010.00 min.
Solo Leon - 009.00 min.
Solo Jan - 011.30 min.
Solo Paul - 007.40 min.
Ensemble Piece 2 - 028.05 min.

First broadcast: 13-03-1994 / Radio 4 / New Music
Producer: VPRO Radio – Armeno Alberts

Performers: Maciunas Ensemble (Paul Panhuysen, Jan van Riet, Leon van Noorden, Mario van Horrik)

The Maciunas Ensemble (founded by Paul Panhuysen in 1968) chose as a starting point, a score from Fluxus artist George Maciunas. This score, Music for Everyman, includes all sounds from the past, the present and the future, on earth and in space. In the early days of the ensemble (Paul Panhuysen, Jan van Riet, Leon van Noorden, Mario van Horrik) the musicians changed instruments regularly and developed a sort of conversation with sounds created on traditional and exotic instruments, found objects and voice. Later on the Maciunas quartet focussed on systematic research on acoustical phenomena's of sound and music.
In the concert of 04-03-1994 the Maciunas ensemble played the Galvano's, a mechanical orchestra consisting of 8 electric guitars. These guitars are played by using galvanometers and voice.

Paul Panhuysen (born Aug 21, 1934, Borgharen) is a Dutch composer, visual and sound artist, and was the founder and director of Het Apollohuis, and art space that functioned during the 80's and 90's having artists doing sound installations, sound sculptures, and concerts about free improvisation, experimental music, electronic music, etc. The most known sound installations of this artist were made with strings, crossing the spaces in different ways, and later played by the artist putting rosin in his fingers and using them as a sort of violin bow.
He has released several albums, including:
- Paul Panhuysen and the Galvanos: Lost for Words, in which various recordings are input into several galvanometers, attached to which are metal springs which vibrate more readily at some frequencies over others, and these frequencies are then reamplified.
- Paul Panhuysen: Partitas for Long Strings, which is from the long string installations which Panhuysen has been doing for quite a while.
He is also a member of the Maciunas Ensemble, named after George Maciunas of Fluxus fame, and has worked with Arnold Dreyblatt and Ellen Fullman. Panhuysen also collaborated with Remko Scha.

Performers for the entire concert:
Ensemble: Maciunas Ensemble
http://www.paulpanhuysen.com

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The Lands of Lost Sounds  - In the cars
008.02 min.
The Lands of Lost Sounds - Sounds in a landscape
016.09 min.
Bor Turel (* 1954)

For over 30 years now, Bor Turel has been the most prominent Slovene composer of electroacoustic and experimental music. After studying composition at the Academy of Music in Ljubljana, he continued his studies at the Department of Electroacoustic Music of the Conservatoire Nationale Supérieure in Paris, as well as in master classes for electronic music of the Department for Electronic Music of the Montreal University in Orford, Canada; in Salzburg and Marly-le-Roy. In 1992 he worked as Composer in Residence at the Electronic Studio of the Academy of Music and Performing Arts in Graz.
Turel's electroacoustic and other works received performances at important international festivals of contemporary music such as: the Festival universitaire du film underground, the Biennale des jeunes and Journées audiovisuelles internationals (between 1979 and 1981 in Paris), and later the Zagreb Music Biennale, International Rostrum of Electroacoustic Music, Prix Italia (nomination in 2005), ISMEAM festival in Sárvár, Hungary, World Music Days in Copenhagen, Days of Contemporary Music in Vienna and European Month of Culture in Ljubljana.
Already while studying at the Academy of Music in Ljubljana, Bor Turel departed from the classicist models and composed his works in free polytonal and atonal musical media. Between 1973 and 1977 he also worked in the theatre group Nomenklatura, and under the influences of the European avant-garde, American experimental music and minimalism he finally broke all ties with tradition. He began to include recorded sound materials in his works, which later became an important part of his main area of expertise in electroacoustic music..
In the years 1977 to 1981 Turel founded and led the ensemble for experimental music SAETA, which developed organised and free improvisation. After his return from Paris in 1983, he ultimately switched to electroacoustic music and since then has created numerous works for various instruments in connection with electronics or for solo tape. In the electroacoustic works his creative poetics is founded in the world of sounds as a complex of sound objects and at the same time of the sound as substance, without any priorities. He forms compositional structures as sound scripts, with a special emphasis on the dramaturgy of a musical composition.

Bor Turel, a free-lance artist, has collaborated with numerous painters and video artists, creating intermedia works and has worked with an experimental theatre of animated forms.
Besides his research in music and work in the field of electroacoustic music and its forms of presentation (concerts, ambiental installation, performances), he is a permanent collaborator of the Program Ars of Radio Slovenia where he began and developed series of electroacoustic and ars acustica music programmes.
Mr Turel has devoted the last years to creating audio and radiophonic art – mainly ars acustica projects and ambiental music works which are based on poetic texts. With his recent pieces he continues a series of electroacoustic works for solo instrument and tape. In 2008 he received the highest slovene award for his artistics achievements.

The Lands of Lost Sounds
(1999–2002) 

The world that sounds
The Lands of Lost Sounds are places of existence of the forgotten and lost sounds in a world that sounds and exists as a sound. They are sound landscapes in the world of nature, in acoustic and acousmatic spaces on the levels of cultural, artistic act and creative gesture. In the natural world these sounds are hidden in the caves under the earth, in hardly perceived movements on the surface and currents of the atmosphere. In the urban world they are veiled with brutal aggression of noise and hypertrophy of misunderstandings of languages. In the acoustic world they are like oscillations of air or matter and an impulse to the sound and tone that will become music.
A process of an artistic and artificial act
When the ear of the composer-listener hears the sound, it chooses it, and the composer-recorder takes it – as an eye of the camera – into the membrane of the microphone. It freezes it in the chosen medium, and the sound, taken from the natural, urban or acoustic environment, becomes an object of sound. The composer-researcher deals concretely with it in an electroacoustic laboratory: under microscopic electronic devices he discovers its microstructure. He multiplies or reduces it, shades and illuminates, he changes its pitches, frequencies and amplitudes, and he shortens and prolongs its parameters. The composer-creator improvises, combines, molds the sound material with which he structures the architecture of an electroacoustic work. Out of a raw sound canvass a fine fabric is woven which will put on a new artistic image.
Sound notation as a score, a performance and as a complete music work
The work Lands of Lost Sounds was (is) conceived as a recording on 8-channel tape and represents an exposition of sound sequences, consisting of primary, authentic sound materials and their electronic treatments. This relationship (or relationships) represents on a semantic as well as esthetic level an inner, evolutionary axis of the piece. It reveals itself as a successive passage from the sound that is primary and evident to the one that is unrecognizable in its primary form and is set to music. The second, outer, space axis is represented as a movement of sound in a real time. This is done with spiral circular motion, multiplication, superposition and reduction that makes a simultaneous ''confrontation'' and ''mirroring'' of three points in evolution of the piece possible. In a real space this circular motion is audible in the distribution – projection of sound through eight speakers, placed in a room of performance. On a symbolic level, this represents sonorous sounds of four cosmic elements in circular motion.

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Telematic live radio Internet event
Total duration: 023.07 Minutes

A live-performance about migration played by artists in V2 Rotterdam, NL and Neue Galerie in Graz, A, utilizing various types of telematic connections (Standard Ponelines, MIDI-Datalines, Videophones, ISDN, Internet, High Quality Radiolines), thus providing high level communication between the artists in Rotterdam and Graz.

State of Transition was simultaneously performed by: Gerfried Stocker, Martin Schitter, Joel Ryand and Dirk Haubrich in Rotterdam (NL) and: Andrea Sodomka, Martin Breindl, Norbert Math and Wolfgang Reinisch in Graz (A). Network Design: Horst Hörtner. The performance was broadcasted live on air at ORF-Kunstradio (A).

State of Transition also was one of the first (if not the very first) live-events which provided open interactive access for users via the Internet. Navigating through the web-pages users could select the sounds to be used in the live performance. Each page was linked with a certain track of an audio-CD specially produced for this event. So if users selected a page they started the corresponding track of the CD. With every access to the server, a traceroute routine was started automatically, analyzing the route of the users' connections. This information was mapped into MIDI-commands controlling the soundsamplers. Thus each machine involved in the users' link to our server got an "acoustical signation". This traces of the network activities was "mapped" on a 12-channel audio system. The result was an acoustical map of the electronic space which constitutes out of the users' interactivity - which could be heard on site and via the terrestrial live broadcast.

produced by ORF Kunstradio, Neue Galerie Graz, A, V2 Rotterdam, NL
sound engineer: Harald Domitner
first broadcasted on Nov. 10th, 1994, ORF Ö1 Kunstradio-Radiokunst
Martin Breindl
1963 born in Vienna, Austria.
He studied at the Academy of Applied Arts, Vienna and at the University of Vienna. Since 2001 curator of Fluss - NÖ. Fotoinitiative. Jan. 2001 - sept. 2002 Content Design for Kunstradio Online.
Works in the fields of intermedia, installation, net.art, radio art, sound art, video and visual arts.
Norbert Math
He studied at the University of Music, Vienna (Electroacoustics). 1998 - 2002 technical and artistic staff at the IEM, University of Music, Graz. Since 2001 curator of Fluss - NÖ. Fotoinitiative. 2005 Artist in Residence at UMAS, Canada. Since 2007 assistant professor at the Nuova Academia di Belle Arti, Milan. Lives in Vienna.
Gerfried Stocker
Gerfried Stocker, geboren 1964, ist Medienkünstler, Musiker und Ingenieur für Nachrichtentechnik und Elektronik. 1991 gründete er mit Horst Hörtner x-space, ein Team zur Umsetzung von interdisziplinären Kunstprojekten. In diesem Rahmen entstanden eine Vielzahl von Installations- und Performance Projekten, die sich mit Interaktion, Robotik und Telekommunikation beschäftigten. Stocker war auch für die Konzepte mehrer Radio-, TV- und Netzwerkprojekte verantwortlich; unter anderem 1995 für die Durchführung des weltweiten Radio-Internet-Projektes Horizontal Radio. Seit 1995 ist er Geschäftsführer und künstlerischer Leiter des Ars Electronica Centers und gemeinsam mit Christine Schöpf für die künstlerische Leitung des Ars Electronica Festivals verantwortlich.
Andrea Sodomka
1961 born in Vienna, Austria.
1982-89 studies at the Academy of Applied Arts, Vienna. 1984-87 studies at the Academy of Music, Vienna (institute for electroacoustics). 1991-95 president of the society of electroacoustic music G.E.M.. 1995-97 curator for Media Art at OK - center of contemporary art, Upper Austria. 1996 member of the jury for Prix Ars Electronica 96. 1997 curator of "Remote Sensations", Ars Electronica 97. 1999 lectures on "Sound Art in the 20th Century", University of Vienna. 2001 lectures on "radio art and radio drama", University of Music, Vienna. Since 2001 curator, since 2003 president of Fluss - NÖ. Fotoinitiative.
Since 1996 member of the artist's association Wiener Secession.
She works in the fields of intermedia, installation, electronic music, net.art, radio art, video and artistic photography.

More Information and Biographies can be found here:
http://www.kunstradio.at/1994B/10_11_94.html
http://alien.mur.at/state_of/

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The Silence of the Pigs (2002)
Maja Zarkovic
004.29 min.

Maja Žarković grew up in Split, Croatia. She graduated from the Royal College of Music in London where she studied violin with Grigori Zhislin, viola with Brian Hawkins and baroque violin with Catherine Mackintosh. She was awarded an MA in Music Education from the University of London Institute of Education as well as an MA in Arts Management from City University London. She performed as a member of chamber groups and orchestras in Croatia, France, Italy, Poland, Slovenia and the UK. Maja co-initiated several international projects in Croatia: the Aestas Musica Summer School of Baroque Music and Dance, the Early Music Courses Dubrovnik and the Dubrovnik Early Music Festival. As a project manager, she took part in numerous international projects in Croatia, France, Israel/Palestine - Ramallah and Gaza, Poland (European Mozart Academy), Italy and the UK. Since 2008 she is the Director of Opera Department at the Croatian National Theatre in Split, Croatia. She collaborated as music dramaturge on several dozens of radio plays and created some Ars Acustica works.

The Silence of the Pigs (2002.) is a short form Ars Acustica piece. It is build around traditional pig slaughter activity that takes place in the countries in the Pannonian plain. During the last days of November, pigs are killed and butchered and the meat is preserved for the winter. Abstracting the folk tradition, the piece focuses on the position of victims unaware of the real situation. Village idyll seems safe for the animals until those very people who were their guardians turn out to be the executioners. The animals are deceived. Reality is different from what they saw and regarded to be the truth. Our global village with Western culture is our idyll so the piece ends in false safety of a restaurant which is a symbol of abundance and pleasant life. The misery of deceit happens on every level.

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Frankfurt Inside - Outside
Andreas Horchler (* 1960)
053.36 min.

Awarded as “Radio play of the month, March 2009” by the Academy of Performing Arts Germany
Genre: Audio Art Soundscape based on the tradition of “musique concrete”
Production: ARD – Hessischer Rundfunk, Frankfurt am Main, Radio Drama Department
Producer and Editorial Office: Manfred Hess
The production is available in two versions, 5.1. surround sound as well as stereo.
For those who are interested in the 5.1.-version, please contact Hessischer Rundfunk for a DVD.

This soundscape has the subject of the city of Frankfurt at the river Main. The city is very busy, international and will be seen as the business capital of Germany with its banks, skyscrapers and the most important airport in Germany situated close to the city centre. On the other hand Frankfurt is a social melting pot with the highest range of immigrants in Germany. And in its different quarters you will find the big money running jointly with the ideology of those, who have their roots in the Green Party.

Horchlers portrait is based on field recordings which he has sampled into small sound elements for structuring them on rhythmical patterns of pop music. So his “love song for Frankfurt” is an audio art composition in the tradition of musique concrete.

Biography:
Andreas Horchler, born 1960, works and lives in Frankfurt/Main as author, radio journalist, musician and pop music producer.

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Peace Within the Shell Bears Pearls
Biserka Vuckovic
002.46 min.

Biserka Vuckovic, born in Zagreb in 1940. At the age of nine became a member of the children’s radio drama company and her co-operation with the Croatian Radio and later Television has been going on ever since. She worked as a Director in the Drama Program of Croatian Radio from 1965 to 2000. She has participated in numerous festivals either as director or as jury member.
She is the recipient of many awards for direction:
- at the Radio Week in Ohrid in 1975 for the program: Radio vrtić (Radio Kindergarten);
- the program Vodena priča (Water Story) was the radio drama of the year in 1983;
- at the Radio Week in Ohrid in 1988 for the program Sudbonosna zujalica (Fateful Buzzer);
- at the international Ars Acustica meeting Vienna in 1994 for the program she authored as well: Mir u školjkama bisere stvara (Peace Within Shells Bears Pearls);
- at the Marulovi dani in Split in 1995 for the program A “V” će dopisati ptice (And the Birds Will Add The “V”);
- at the Marulovi dani in Hvar in 1996 for the program “Orfeuridika: pompejanski grafiti” (Orfeuridika: The Graffiti of Pompeii),
- at the Prix Marulić 2001. Grand Prix Marulić for the program “Lopudska sirotica” (“The poor woman from Lopud”).

This miniature, Peace Within the Shell Bears Pearls, was “born” during the war in Croatia (1992), during the time that laughing was rare, even that of children. This depressing fact served as a catalyst for director Biserka Vučković to make use of one girls’ laugh, which she had already “used” in one of her previous works. Since she always has connected laugh with pearls, she had decided to use it as one of the elements in her variation of a folk saying - Peace Within the Shell Bears Pearls. Luckily, today, regarding associative level, this story bears one dimension less – since it is not “Man&War&Peace” anymore, but only “Man&Peace”. The author speaks of the creation:
“This short sound-image is produced in analogue technology, without even a multichannel tape recorder, meaning that the editing was possible only by re-recording… Aside from merging sounds of the storm, the wind, the sea and the undersea world, we also used the sound of freshly opened mineral-water bottle, making it into a loop, and with the pitching we succeeded to create tiny bubbles… Fragments of the girl’s laugh, bubbles and the mineral water merge into a composition with which my sound-engineer Delka Milanov and I wanted to create impression of the absolute peace and tranquility inside the seashells on a bottom of the sea.”

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Eight Works
Judy Dunaway
052.28 min.

Balloon March - 002.07 min.
Balloon Trio - 009.20 min.
Funky Balloons - 002.52 min.
Vocal Sounds of Mouth Balloons - 006.20 min.
Structured Improvisation - 006.15 min.
Solo Balloon - 006.55 min.
Sax & Balloon - 006.35 min.
Keyboard & Balloon - 009.28 min.

First broadcast: 24-04-1994 / Radio 4 / New Music
Producer: VPRO Radio – Armeno Alberts

The Balloon ensemble (Judy Dunaway, Evan Gallagher, Gitta Schaefer) performs compositions by Judy Dunnaway. They also experiment with balloon sounds and improvise.
The musicians create al kind of weird, funny and exotic sound by rubbing, blowing and drumming the balloons.
Judy Dunaway is a composer, improviser and conceptual artist who is primarily known for her sound works for latex balloons. Since 1990 Judy Dunaway has composed over thirty works for balloons as instruments and has also made this her main instrument for improvisation. Judy Dunaway has presented her compositions and improvisations for balloons throughout North America and Europe at many venues and festivals including Lincoln Center Out-of-Doors, REDCAT, the SoHo Arts Festival, the Alternative Museum, the Knitting Factory, Performance Space 122, Roulette, Experimental Intermedia, Soundlab, the New Museum of Contemporary Art, the Bang on a Can Festival, the Guelph Jazz Festival, Podewil and ZKM. She has performed as a balloon player in compositions by John Zorn and Roscoe Mitchell, and in improvisations and/or collaborations with the FLUX Quartet, performance artist Annie Sprinkle, video artist Zev Robinson, visual artists Nancy Davidson and Ken Butler, percussionists John Hollenbeck and Matt Moran, the Illuminati big band, DJ Singe, and numerous others. Her compositions for balloons include electronic and multi-media works, sound installations, and works that incorporate more traditional instrumentation such as string quartet, chorus and Japanese koto.
Awards include a recording grant from the Aaron Copland Fund of the American Music Center, a commission from the American Composers Forum's Composers Commissioning Fund, an artist/researcher-in-residency at Zentrum für Kunst und Medientechnologie, a recording residency at Harvestworks/Studio Pass, and grants from the National Endowment for the Arts, Meet the Composer and the Kalliste Foundation. Ms. Dunaway has published two articles in Musicworks magazine about her work with balloons: A History of the Balloon as a Sound Producer in Experimental Music (Fall 2001), and, Orchestration and Playing Techniques for Balloons as Sound Producers (Spring 2002).
Dunaway has a Ph.D. in Music Composition from State University of New York at Stony Brook, where she studied with analog electronic music composer Daria Semegen and multi-media artist Christa Erickson, and a M.A. in Experimental Music from Wesleyan University (Connecticut) where she studied with composer Alvin Lucier. She also holds a B.S. in Music Education from Hunter College (New York City). She is currently a Visiting Lecturer in the Critical Studies Department at Massachusetts College of Art.

Dunaway has also created other works, often to do with social activism or cultural critique. Most recently, Dunaway has founded a not-for-profit educational webcast for audio art and activism concerning the rights of sex workers called "Sex Workers' Internet Radio Lounge." Other works by Ms. Dunaway include Affirmative Action, a political multi-media piece utilizing sensor-activated projections as visual music, commissioned by percussionist Russell Greenberg; Sensation, a composition for audience presented at the Mixed Messages Festival where it was conducted by Jackie 60 Award-winner Baby Dee; Duo for Radio Stations, simulcast on WFMU (New Jersey) and WKCR (New York); and the score for Diane Torr's performance art piece Crossing the River Styx, the "high decibel music" that instigated the closing of the Franklin Furnace performance space in 1990.

Performers for the entire concert:
Ensemble: Balloon Ensemble
http://emedia.art.sunysb.edu/judydunaway/
Judy Dunaway, balloon
Evan Gallagher, balloon
Gitta Schaefer, balloon

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Swiete Drogi - Polish Pilgrimage
050.25 min.

Peter C. Simon
born 1968, lives and works in Cologne as composer, author and filmmaker. Various CDs and DVD (e.g. for Sonig & Entenpfuhl);
C-Schulz
born 1969 in Poland, experimental film producer, video and sound artist, studied electrical engineering and physics at Ruhr University, Bochum as well as art of media at Art College of Media, Cologne

Sound Engineer: Benedikt Bitzenhofer /Barbara Goebel
Production: DEWDR Ars Acustica Studio 2004

Even if one dislikes mass church parades or well organized religious tours by bus, it is hard to resist the attraction of unique soundscapes generated by archaik speaker systems transmitting religious services amidst vast impressive scenery or the sound of thousands of pilgrims murmuring prayers. Cologne Sound Artists Peter C. Simon and C-Schulz travelled during the holy week of 2003 into the heart of the "polish Jerusalem" and condensed their recordings of the Easter Liturgy into a pilgrimage to a unknown realm of sound.

Soloist:
Andreas Gogol, guitar

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Acoustical Visions of Venice (2000)
Bill Fontana (* 1947)
042.19 min.

Bill Fontana (born 1947) is an international wellknown and successful sound artist. He studied philosophy and music at the New School for Social Research in New York, with Philip Corner and others. Following a prolonged stay in Australia, he was a guest artist in Germany and Japan. The composition of sound sculptures began in 1976; Fontana has since produced a large number of works in this genre. The compositions and live sound sculptures realised for the Studio Akustische Kunst have been of central importance for Fontana's artistic development; they include Entfernte Züge (Distant Trains), Metropolis Köln (Metropolis Cologne), Ohrbrücke Köln - San Francisco (Ear Bridge Cologne - San Francisco), Reise durch meine Klangskulpturen (Journey Through My Sound Sculptures) and Der Klang der stummen Flöte (The Sound of an Unblown Flute), Satelliten-Klangbrücke/Soundbridge Köln - Kyoto and Wave Trains.

Acoustical Visions of Venice was a site specific installation placed on the façade of the famous 15th century customs house, the Punta della Dogana. (The installation was commissioned by the Bohen Foundation and organized by the Peggy Guggenheim Collection).

It explored the idea of hearing as far as you can see, as microphones with transmitters were placed in the amazing visual panorama that surrounds the Dogana. The interaction between the visual and acoustic sometimes worked on an immediate and dynamic way. Sound events in the Venice Lagoon such as bells or ship horns would reach the Dogana at the speed of light prior to their natural arrival at the speed of sound, creating a temporary multi-dimensional reverberant zone. The ongoing ambient transmission lay more in the realm of hearing as far as one can imagine as unseen ambient events created a changing sonic texture of familiar Venice sounds.

The fundamental compositional idea is to explore the changing spatiallity of sonic perception from the layered sound textures of Venice. These textures include multiple perspective bells and ship horns, various rhythmic textures of moving water and moored gondolas, footsteps, voices, pidgeons and birds.