Analysis, examination and application of a new methodological approach for Sound Studies
Das Programm der Tagung ist online: Pop erzählt in Popromanen und Songs, in Interviews und Bilderserien, in Designobjekten und Zeitschriften, Kleidungsstücken und Webdesign, Pop-up-Stores und viralen Memen: an 3 …Continue reading
Über „Wow“ von Carl Schilde (erschienen in: TEXTE ZUR KUNST 22 (2012), H. 88: The Question of Value, S. 142-145) „WOW“ von Carl Schilde ist eine minimalistische Schallplatte. Auf beiden Seiten des …Continue reading
As it was written in my last post, I continue to prove the 6 earlier mentioned statements on the discourse community of electronic music. The following points are the second and the …Continue reading
According to my observations on electronic music as a linguist, I have to declare that electronic music has its own terminology, which is shaped by the language users. The language users are …Continue reading
Imagine 29 (yes, there’s no typo: twenty-nine) loudspeakers in a public place, all attached to a series of buildings in a street – and every day sound art pieces are played in …Continue reading
At Leuphana University Lüneburg near Hamburg the 5th workshop of the international research network Sound in Media Culture takes place this weekend, May 11th/12th. We celebrate our internal workshop (in which we …Continue reading
Is there such a thing as non- or even inhuman music? A music that has been created by animals, machines, aliens or mere accidents? And if not: Could we even imagine to …Continue reading
In the late 1970s Captain Beefheart handed his new guitarist, Moris Tepper, a list of ten commandments: a sort of personal pledge, a magic spell, after all: a sonic fiction to be …Continue reading
Über die Pophörspiele und Audioeditionen „Der Process“, „Im erwachten Garten“ und „Beattheater“ (erschienen in: TEXTE ZUR KUNST 21 (2011), H. 82: Artistic Research, S. 197-200) In der letzten Dekade haben sich avancierte …Continue reading
