Tag Archives: sound art

14.August, DKFRF, The Festival that never will be

Daydreams blur the borders of reality, change our surrounding world into a kind of wonderland. Recently I went to visit my own festival, a festival that never will be. Famous and not so famous architects talked about the drone of big city’s or how the city sounds bounce back from the hills of Rio de Janeiro and thus create this wild jumpy rhythm. Shanty towns are so chaotically laid out that spiraling melodies seem a very natural musical reproduction of this structure. We would hear in sound and word how big buildings not only produce but also direct and transform the traffic noises. A modern day city dweller would feel lost in a silent town. City noises create their own dynamics, and contribute to development of new ways of thinking.

Also scientists would be there to tell us that communication between plants is based on sound. We would hear those sonic impulses from the micro world, and learn that also we, speaking our languages, use the bare sound of it to communicate, that it doesn’t come down to words alone.

Ach, long distance communication between whales, navigation systems from the birds, the love call of snails, chaos theory and the buzzes of domestic flies, cosmic winds, tectonian moves, vulcanoes, tornadoes and crickets on a hot summer day, suddenly every visitor and participant alike would find pleasure in anecdotes about things they had heard and could not describe in words.

In comes the artist. Each one of them would be commissioned to use the scientific and architectural and filologic and geo-specific sounds and compile a story of it, a work of art that would cause for each listener to daydream himself to a different place.

There would also be a blindfolded sound walk in this festival that will never be. Not the one as we know it, o no. Participants would be brought to different places in a stretch limousine with blinded windows. Not able to see where they are going, together in a moving capsule they would hear strange abstract sounds. As soon as the car stopped, they would be blindfolded. They entered buildings with peculiar smells, sizzlings and tapperings, mumbles, squeeks and bits of conversation. Back to the car, and of to some place in town, a bit aside of the traffic saturated part of it, another walk. Then to an abandoned site, with distant almost undetectable whispers of all kinds. At the end of this sound walk each participant should talk about the things they had imagined.

O yes, it is all possible in a day dreamed world. I guess it is this kind of imagination that fuels not only my own performances. It also determines who I choose to play at my ongoing attempt to set up a festival:

14. August, 21.30hours
Das Kleine Field Recordings Festival
with
Anton Mobin/JD Zazie
and
Young Horse Piano
at
Valentin Stüberl
Donaustrasse 112
Berlin
U7 Rathaus Neukölln

19. June Tales for Tapes – The Analogue Edition

Before the advent of internet I used to send, but also receive a lot of postcards. I kept those cards on a visible place until I decided to throw out the anchor and store them in a shoe box. One attraction of the postcard is the immediate satisfaction combined with a rush of excitement: it managed to define a moment in time, as a kind of snapshot.

Today twitter seems to have replaced the postcard. But not only. Handheld recording machines and mobile phones are more and more used to send out audio postcards. Maps and netlabels are flourishing all over the web. Mostly these recordings are tagged ‘field recrdings’ but are they?

In this article Schoenberg has some words for the radio. With a bit of malicious pleasure one could replace ‘radio’ with ‘handheld recording devices.’ It is easy to imagine how a new generation of recordists present their work in a performance: with a laptop.

In the previous editions of dkfrf I had numerous artists playing their work from a laptop. In those days these artists presented meticulously prepared sound works. But over the last years I came to realize that a laptop performance transmits an artist/computer/network situation, rather then a story in sound.

I organized the dkfrf out of curiosity. I wanted to enter a world made out of environmental recordings, a world full of mystery, distance and a sense of exotism: a reality at the other side of the mirror.

Field recordings as an art form opens up to a lot of possibilities. There is manifold expressions. To organize a proper festival one needs time, a staff, a venue and money. Above all, one needs a big talent to administre all possibilities.
And here is the problem. I organize from an artist’s point of view, not as a manager. I try to push boundaries and move to extremes. Maybe that’s why dkfrf has a small audience, and will continue to atract only those few.

Anyway, my next move is into analogue territories. Recordings made on magnetic tape, recordists as racconteurs, who are able to recreate an experience or a fascination in word and sound, sound poets who delve into an intimist world, modern day explorers who come to report in, will be my future guests. Dkfrf will focus on the story rather then on the sonic experience. If this means that it will become more marginal then so be it.

Next edition
will bring the sound poet maudit Romano Krzych, the Babylonean diktaphone/double bass quartet Diktat and the visionaires Rebus and Hars with their tales of the lost and found.

at
Sucked Orange Gallery
Emserstrasse 91
U8 + S-Bahn Hermannstrasse

on
Sunday 19 June, from 19.00 onwards

This evening is also a part of the tales for tapes series, initiated by Anton Mobin in Paris. Previous tales for tapes evenings were held In Paris, Berlin and Bruxelles.