wahr – nehmen

Wahrnehmen geschieht ständig ja selbstverständlich, was aber dringt in unser Bewusstsein?

Das Pfingstsymposion München richtet seinen Fokus auf das Hören im Wahrnehmen.
Es ist der unmittelbare Zugang zur Musik. Es vermittelt zwischen der Komposition, den Aufführenden und dem Publikum.
Empfindungen – oft spontaner Art – veranlassen uns, das Wahrgenommene tiefer zu erkunden, es bewusst zu machen und vom Hören – zum ganz Ohr sein – zum Innewerden vorzudringen.

Klaus-Peter Werani und Minas Borboudakis vertreten die neue Musik

Anke Werani, Psycholinguistik, Martin Lehnert, Sinologie und Japanologie, Holger Schulze, sound studies, die Wissenschaften.
 
Performance Lecture mit Ruth Geiersberger, Wilfried Krüger und Dieter Trüstedt.

Eröffnung Freitag, 17. Mai  20 Uhr in der Seidlvilla, Nicolaiplatz 1b, 80802 München.

Detailiertes Programm

Anmeldung erbeten.

Pfingstsymposion München 2011
Agnesstr. 39, 80798 München
Tel. 0 89 / 2 72 18 56

ulrike.truestedt[at]pfingstsymposion.de

Gesamtkarte 50 / 35 Euro
Tageskarte   35 / 25 Euro
Einzelkarte  15 / 10 Euro

Ermäßigung: StudentInnen, Arbeitslose

This project serves two conjunct purposes: on the one hand it wants to develop a sonic philosophy that takes music serious as a ‘form of thinking’ [and that might revise our notion of what ‘thinking’ means]. On the other hand, it aims to bring this approach into a fertile symbiosis with the concepts and practices of ‘artistic research:’ art, philosophy, and science as heterogeneous, yet coequal forms of thinking and researching.

The debate about the sphere of sound is presently carried out with high intensity. The emerging field of research ‘Sound Studies’ is primarily discussed in the humanities and social sciences – the ‘Acoustic Turn’ is tackled with the means of cultural sciences and semiotics. These disciplines, however, deal with sound more often than not in the field of its ‘cultural meaning’ (for the composer, for the constitution of national or ethnic identities, etc.). Sound and music always mean, and the meaning is found or discovered by understanding sound and music as ‘mere practices,’ the theory of which has to be imported from elsewhere – thinking about sound.

As mediated by John Cage, a better part of the American musical avant-garde refers to the philosopher Henry David Thoreau, who conducted sound experiments at Walden Pond in the mid-19th Century. In his Journals Thoreau writes: “Now I see the beauty and full meaning of that word ‘sound.’ Nature always possesses a certain sonorousness, as in the hum of insects, the booming of ice … which indicates her sound state.” The pun on ‘sound’ as acoustic sound and ‘sound’ as a state of health even calls for a reference to Thoreau’s dictum “in wildness is the preservation of the world” [from his essay ‘Walking’]. Here ‘wildness’ refers to the untamed but also to anything that resists representation and any static thinking of identity: the continuous self-differentiation of the world, its growing, its dynamics, its processuality – here lies its ‘soundness’ and also the ‘essence’ of sound. Thus ‘sound thinking’ does not only imply ‘the thinking of sound,’ but also ‘healthy thinking,’ or, as Deleuze puts it: a thinking that rightfully earns its name: a thinking that does not derive its parameters|concepts from an exterior ‘verified knowledge’ [Deleuze calls this ‘recognition’] in order to adapt the object of investigation to these parameters, but rather a thinking that develops its very concepts from the examination of the object of investigation [Deleuze calls this ‘encounter']: here – a thinking with and by means of sound (not a thinking about sound), which eventually does not deal with the question what music is, but rather what music can [become]. And from this vantage point research and art, theory and practice, are coextensive.

Keynote speakers:
David Hendy, University of Sussex
Karin Bijsterveld, Maastricht University
Lev Manovich, City University of New York
Michele Hilmes, University of Wisconsin-Madison

We welcome abstracts for our open paper sessions and for panels taking place at the conference. Sub-calls for the panels can be found by following the links bellow.

Digitization enables us to meet cultural heritage artifacts and narratives in heretofore unimagined media and platforms. Accessibility to written, visual, auditory and audiovisual sources increase dramatically. But how do we wish to access and interact with cultural heritage sources in the 21^st Century? This conference focuses on practices of cultural memory in the multiform meetings between users and cultural heritage. What interfaces are established between users, be they researchers or ‘ordinary’ citizens, and the archives of cultural heritage? What possibilities are opened for interaction with cultural heritage artifacts? And what methods and scientific paradigms are relevant to order and describe such immense archives.

One aspect, which seems still to have received too little treatment is the question of the auditory and audiovisually based cultural heritage’s role in the construction of historical narratives. Music, film, radio, and television have become ingrained in a nation’s cultural memory, and in many, not least, European countries, state-governed national broadcasting corporations have played and do still play a vital role in narrating and interpreting the past, not least by establishing institutional production archives which give producers access to historical material otherwise inaccessible. Such reuses of historical materials afford renegotiations of the historical past(s) by valuating the new historical materials as significant historical sources. Digitization means that such historical materials, be they broadcast or other cultural heritage artifacts, are to an increasing degree accessible outside the production environment, e.g. for research. One recurring problem is that the materials are still under the editorial control of the parent institution and accessible only for some uses to some users. This motivates a new look at the question of who has the right to circulate archived material in what forms, and thus who is allowed to narrate the past. The question is relevant at all levels, from the level of national cultural politics all the way down to the concrete definition of rights for individual users in the archive or on broadcaster’s websites.

The conference wishes to contribute new perspectives on the first by focusing on (access to) digital media archives, a phenomenon that has only really come into existence within the last decades; Secondly, by focusing on auditory and audiovisual source material, i.e. data sources with an extension in time, as oppose to texts and pictures. Again, digital archives of auditory and audiovisual material are rather young compared to archives of (scanned) texts and pictures. Finally, the conference’s focus is on the digital archives’ role in the construction of a cultural history as well as studies in cultural history and cultural memory. Traditionally, digital humanities have tended to focus on the internal structure of artifacts, e.g. using digital texts to investigate language systems, translations, stylistics etc.

The conference welcomes contributions from a broad range of researchers, designers and developers who work with digital archives of auditory and audiovisual media in the investigation or production of cultural history phenomena. All of these definitions shall be taken in their widest sense. A digital archive can range from enormous national archives to the archives collected by individual researchers and research groups. Similarly, the conference wishes to invited both concrete experience with collecting and using a digital archives as well as theoretical reflections on the nature of the digital archive. Likewise, the concepts of cultural history and cultural memory shall be taken in their broadest sense and can include both historical investigations and research within the broader humanities with either an historical or an aesthetic scope.

Papers

We welcome papers relating to the general outline of the above call. The conference will embrace three sub themes:  Interface (i.e. the construction, design and interface of the archive), Immensity (dealing with the vast amounts of data which all of a sudden are available to research that has heretofore tended to work qualitatively with rather small samples), Memory (choosing from the archives, sampling and building a coherent interpretation). Please indicate if your paper addresses one or two of the themes in particular.

Panels

Along with open and themed paper sessions, we have accepted a number of themed panels to take place at the conference.  A themed panel will consist of a minimum of 3 papers with a common research question. If you whish your paper to be taken under consideration for a particular panel, please select the panel as “category” in the Easy Chair submission form. Submissions not accepted for panels will be taken into consideration for the open paper sessions.

• The practices of exhibiting sound, organized by Christian Hviid Mortensen & Morten Søndergaard
• Infrastructural Sustainability and Curatorial Practices of the Digital Archive, organized by Luca Antoniazzi
• How to make radio and sound archives work for audiences? Organized by Zillah Watson
• Who keeps the memory? Organized by Teo Mäusli, Brecht Declercq & Petra van Dijk
• Challenging the homogeneity of ’media language’, organized by Jacob Thøgersen
• My Childhood Radios, organized by Henrik Reeh
• Transnational Radio Encounters, organized by Golo Föllmer & Jacob Kreutzfeldt
• Radio and Music/Music Radio, organized by Morten Michelsen

 

Submissions

Deadline for paper abstracts (max 200 words) 1 June 2013
Notification on acceptance will be given by the beginning of July 2013

Please send submissions via EasyChair: https://www.easychair.org/account/signin.cgi?conf=larm2013. Please forward the automatically generated submission confirmation to: conference@larm-archive.org.

We strongly encourage presentations of practice based and artistic projects.

Conference fee: 60 € (reduced price for students)

Affiliation

Digital Archives, Audiovisual Media and Cultural Memory is arranged by LARM Audio Research Archive. LARM is an interdisciplinary project, the goal of which is the production of a digital infrastructure to facilitate researchers’ access to the Danish radiophonic cultural heritage.

The LARM project is a collaboration between a number of research and cultural institutions: The University of Copenhagen, Aarhus University, Roskilde University, The University of Southern Denmark, Aalborg University, The Royal School of Library and Information Science, The Danish Broadcasting Corporation, The State and University Library, Danish e-Infrastructure Cooperation, Kolding School of Design and The Museum of Media.

The main purpose of LARM is to establish a digital archive with the appropriate tools and a bibliography to enable researchers to search and describe the many recordings of the radiophonic cultural heritage. Radio has played an important role in Danish lives and, today, radio broadcasts form an invaluable, yet untapped, source to Danish culture and history. LARM Audio Research Archive will allow access to thousands of hours of national and local radio broadcasts from 1925 and onwards and thus prepare them for future research.

LARM – Audio Research Archive: http://www.larm-archive.org/

Organisation

Organizers: Jacob Thøgersen, Jacob Kreutzfeldt, Morten Michelsen, Per Jauert, Frederik Tygstrup & Bente Larsen

Scientific committee: Morten Søndergaard, Erik Granly, Ditte Laursen, Marianne Lykke, Birger Larsen, Erik Svendsen

Contact: for questions and enquiries please contact Jacob Kreutzfeldt (jacobk@hum.ku.dk) or Jacob Thøgersen (jthoegersen@hum.ku.dk)

Please consult the conferences website at: www.larm-archive.org/conference

Herausgegeben von Holger Schulze
transcrpit Verlag, 2012, 268 S., kart., zahlr. Abb.,
inkl. Begleit-CD-ROM, 28,80 €
ISBN 978-3-8376-1316-2

Universität Koblenz-Landau,
Campus Koblenz, 4./5. Oktober 2013

Im Anschluss an die 3. Tagung des Netzwerk Forschung Kulturelle Bildung, die 2012 an der Universität Erlangen-Nürnberg mit dem Thema „Metatheorie und Methodologie“ den Versuch unternahm, Theorie und Forschung zur Kulturellen Bildung im deutschsprachigen Raum zu systematisieren, soll mit der 4. Tagung die Forschungsperspektive auf Räume Kultureller Bildung mit einem Blick auf nationale und internationale Perspektiven gerichtet werden.

Mit diesem Call laden wir WissenschaftlerInnen (sowie den wissenschaftlichen Nachwuchs) europaweit ein, aktuelle Forschungsprojekte, die sich mit „Räumen Kultureller Bildung“ beschäftigen, auf der Tagung vorzustellen.

Zudem möchten wir Kulturschaffende, KünstlerInnen und PerformancemacherInnen einladen, zukunftsweisende Kooperationen und Modelle in der kulturellen und ästhetischen Bildung und Vermittlung, die Räume (Stadt/Theater/Schule etc.) thematisieren, im Kontext der Tagung vorzustellen.

Bitte reichen Sie Abstracts (einschließlich einer kurzen wissenschaftlichen bzw. künstlerischen Vita) bis zu 3000 Zeichen (inkl. Leerzeichen) bis zum 31. Mai 2013 unter koblenz2013@forschung-kulturelle-bildung.de ein.

The Noises of Art addresses what is arguably the most prolific, varied, and groundbreaking period in the coming together, exchange, and mutual influence of visual art and sound-based practices (such as music and the spoken word). It aims to explore (principally) the visual artist’s engagement with sound, noise, music, and text while at the same time recognizing that there is a traffic of musicians, sound artists, and text artists moving in the opposite direction, who aspire to cultivate visual analogues for their work. Thus, the conference is situated at the intersection of several movements that are converging upon a point of visual-audio synthesis and exchange.

In general, although not exclusively, the forum will provide and the opportunity to:

• draw together visual artists and text-based artists who also use sound as a mode of creative production as well as musicians and sound- or noise-based artists who also use images (static or kinetic) as a mode of creative production;
• discuss, describe, exemplify, and present individual and collaborative practice;
• examine the commonalities, distinctives, and relationship of image, sound, and aural text in terms of their essence, methodologies, technologies, theories, aesthetics, historical trajectories, and modes of discourse;
• explore audio-visual practice from the perspective of cognitive, perceptual, and psychological studies.

The conference will be held over three days and include:

• presentations of academic papers by two keynote speakers, contributing scholars, and practitioners representing the fields of visual art, sound art, music, and sound-directed text, archiving, education, psychology, and medicine;
• the performance and presentation of works and events representing sound art, video music, spoken and sung text, and their integrations; performances will take place in public spaces and gallery areas at Aberystwyth Arts Centre, the School of Art, the National Library of Wales, and Ceredigion Museum;
• workshops and master-classes for university creative-arts students, local schools, and the public, run by academic staff in collaboration with PhD Creative Art students. These would provide an opportunity for participants to participate in practical demonstrations and discussion.

We welcome abstracts for 20-minute-long papers, in all media and on any periods and regions, that deal with either case studies or broader methodological, theoretical, and historical questions, as well as proposals for improvisatory projects or presentations of 20-minute duration that can be performed at the conference. Please send either abstracts of 250–300 words or proposals of 700 words (including sample image (JPEG format) and sound or video files (mp3 or mp4 format), where appropriate) and a short biography of 100–150 words, and all inquiries to Sophie Bennett at Aberystwyth Arts Centre by 30 March 2013.

Follow us on FaceBook: http://www.facebook.com/TheNoisesOfArt

Follow us on Twitter: https://twitter.com/TheNoisesOfArt

Visit the conference website: http://noisesofart.weebly.com/index.html

Venue and Dates

The conference will be hosted by the School of Art in collaboration with The Courtauld Institute of Art, London Arts Centre and Aberystwyth University, and will take place from 4 to 6 September 2013.

For more informations and the Download Version of the Call, please visit:
http://www.aber.ac.uk/en/art/research/eye-ear/noises-of-art/

Application deadline is February 15th 2013.
Please send e-mail to research coordinator Hanne F. Gjelstrup [hanne.gjelstrup@aarch.dk] with name, position, institutional affiliation and address and the abstract if you wish to present your research.

The participation fee is 3.000 DKK /400 €,
which includes lunches, dinners and coffee during the course.

Admission to the course will be announced on March 1st.

For more information please visit the Website. Or download pdf here

Moreover I listen to our three kids making playful noises at the other end of our apartment. I remember how I entered this metropolis, now almost on and a half decade ago. And I am rather incapable of remembering how it was for me then to listen to all the diverse and heterogenuous sounds of the city, of the traffic, the sounds of this multitude of people, ethnicities and youth cultures in this hybrid urban agglomeration.

I listen to myself remembering this soundscape of the late 1990s in Berlin and remembering this I try to figure out what soundscape recordings of these years could be an adequate representation for my memories – maybe as part of an exhibition on this city. I remember just how I left this desk this moring, how I pulled on my coat, it is the end of January, a horribly cold and icy day: around 15° below zero have been forecasted. I remember how the sun was so brilliantly shining in an almost cloudless sky today. I left the house and walked to the subway station, I later changed to the S-Bahn – and as I left Friedrichstraße Station I enjoyed the icy sun even more. Everything that moved today just moved a bit more silent, the freezing air almost sticky. With this brilliant sun and the characteristically reduced sonic activity of cold Winter I entered the Sound Studies Lab, the research environment at which I work at the Humboldt-Universität zu Berlin.

My mind now wandering back to my desk and my laptop on which I am writing these words right now, I am surprisingly reminded of an impressive documentary film that presented extracts from the historical soundscape of Berlin in the 1990s: Berlin Babylon by Hubertus Siegert. A film that is literally full of the extreme icy air – similar to the air of today 25th of January 2013 –, a film like a picture book of all the main construction sites the reunified metropolis narcistically was so proud of as a sign of its aspired renaissance.

This film had a soundtrack by the classic German Noise- & Avantgarde-group Einstürzende Neubauten. I was moving in my mind for some minutes now. My imaginations affected myself in a thoroughly bodily way, nostalgic and freezing, melancholic and joyful, deeply satisfied; the room in our apartment where I write this article rarely seemed to enter my imagination. I digressed into this captive sonic fiction of the Einstürzenden Neubauten-group and its dandyesque singer Blixa Bargeld; how he sang, interpreting in his characteristic theatrical voice, overly articulate, a question, full of harshness and self-doubt: »Was ist die Befindlichkeit des Landes?«

Die neuen Tempel haben schon Risse
Künftige Ruinen
Einst wächst Gras
Auch über diese Stadt
Über ihrer letzten Schicht

Mela, Mela, Mela, Mela, Melancholia
Melancholia, mon cher
Mela, Mela, Mela, Mela, Melancholia
Schwebt über der neuen Stadt
Und über dem Land

Im Zentrum der Diskussion steht auch eine klangkünstlerische Performance von Anke Eckardt und Tiago da Costa e Silva unter dem Titel DYSFUNKTION: EINE HOMMAGE AN BRUCE NAUMAN´S DAYS

Mehr Details zur Veranstaltung