heterophenomenological

September 11. – November 19. 2010, GAFFTA, San Francisco, CA

presumed wind loads (alpha 2)

Computer music sonification and sound object by Bernd Schurer / Yves Netzhammer.

http://www.gaffta.org/2010/08/14/mileux-sonores-sound-and-imaginary-space/

Opening reception: 11 September 2010, 7:00 pm

Exhibition Description

From the rooms we imagine when we hear our noisy neighbors across the wall to the echoes that bounce off mountain cliffs, sound and space combine to create mental landscapes that become important parts of our environment. As developments in media technology make these virtual spaces and soundscapes ever more present in our lives—think video games, GPS applications, and audio surround—they are increasingly the subject of cultural theory study. Rarely have these concepts been explored in media art exhibitions, however.

Now, swissnex San Francisco and Gray Area Foundation for the Arts are pleased to announce the U.S. debut of Milieux Sonores: Sound and Imaginary Space, curated by Marcus Maeder and the Institute for Computer Music and Sound Technology (ICST) at the Zurich University of the Arts. Join us at the Gray Area Foundation for the opening reception on Saturday, September 11, 2010, from 7:00pm to 10:00pm.

Milieux Sonores, which premiered in Zurich in 2009, was designed to create imaginary spaces that could be shown in actual places as exhibition architecture. Participants, who included artists, composers, and sound designers often working in teams, were issued the following challenge: Build an imaginary space. The resulting five installations make use of cutting-edge audio technology developed at ICST Zurich to propose very diverse solutions. At Gray Area Foundation for the Arts, they all become part of a dark, mine-like space defined by sharp black shapes jutting out from gallery walls. Listen for yourself through November 19th, 2010.

http://zulauf.it/content/view/62/119/

Papiro / Schurer, EMS @ http://starkart.ch/ 30.7.10 20h

Milieux Sonores. Sound and imaginary space.

Exhibition with Daniel Bisig/Martin Neukom/Jan Schacher/Schurer, Yves Netzhammer/Bernd Schurer, Felix Profos, Jeroen Strijbos/Rob van Rijswijk a. o.
Curated by Marcus Maeder.

A collaboration of Gray Area Foundation For The Arts, swissnex San Francisco and the Institute for Computer Music and Sound Technology, Zurich University of the Arts.

Opening: 11. 9. 2010, Gray Foundation For The Arts, San Francisco

AUSREIHE presents :
Electronic Music Concert 04

Appearance:

Bernd Schurer [CH] / Daisuke Ishida [JP] / Lee Gamble [UK] / Martin Supper [DE] / Yutaka Makino [JP]

Date:

Sunday 27th June, 2010 | 16:00 Open – 20:00 End

Fee:

€10 / €8

Venue:

Theaterkapelle » Google Map

Boxhagener Straße 99, 10245 Berlin Friedrichshain, Germany

Konzert am Sonntag 27. Juni 2010, 19 Uhr Perla-Mode,

Langstrasse 84/ Brauerstrasse 37, 8004 Zürich

(akaria fonografica) luft und progressive spiele, atem und seele / THE PHYSICAL LIPS:

Akarus Milbus Vonduvall – vox phantom, thunder drum, singende balken, stimme, e-toys, kirchenflöten / Ufonautic – flöten, thunder drum, kirchenflöten, e-toys, singende balken /

Mrs. La Font – snare und drums, licht und nebelspiele.

***

Agnieszka Obuchowicz Zweifel: Tanz

Sebastian Hofmann (funkloch): Spieldose und ein Elektrokasten.

***

grauton: karen geyer, yeah!

***

AUGEN-BILD & KLANG-BLICK

Konzept/Idee Lea Magdalena Knecht (Harfe)

und Isa Wiss (Stimme).

***

Koffertechno, Stini Arn (miss töne).

***

brother summ

Nähmaschinenperkussion (Mirjam Bürgin)

Stimmgitarre (Jörg Köppl) & Gast.

***

Sprüngli & Ratluk

Andreas Pfister & Lara Stanic

aktive Texte, Ton, Velo Performance.

***

Martin Lorenz

«For Ensemble II» – Musicians and Turntables.

***

Bernd Schurer (domizil) – (16 * 2) / 3 – Sonification

of Vektor Data, 3 Channels – File under: Computermusic, Data, Algorithm ect.

***

(hörgäng) Wendelin Schmidt-Ott.

***

Simon Grab

Es weht ein harter Wind! (What a nice breeze!)

Eine Vorbedingung zur Lärmsteuer ist die Angabe des verursachten Lärms als Marketinggröße.

***

Rocking Desk

Simon Berz (badabum) Lithophon & analoge Elektronik.

***

Fizrok & Stricklise «Dosen Losen»

Anna Traufer: Büchsen, Plattenspieler, allg. Konserven. Ph. Schaufelberger: ev. Gitarre, allg. Membran.

***

Thomas Rehnert

performance AUTOPILOT

Musikautomat, Elektromotor, Elektrorelais.

***

„solozwischen effroni“, Stimme, Wasser, Licht

Fabio Gaggetta.

***

ensembleTZARA (Zürich) www.ensembletzara.ch

Simone Keller (P) Christina Aiko Mayer (Vl)

Geneviève Camenisch (Vla) Moritz Müllenbach (Vlc) Murat Cevik (Fl) Christoph Luchsinger (Tp) Martin Sonderegger (Cl) Xaver Sonderegger (Trb).

Das ensembleTZARA spielen

Kompositionen von:

***

Thomas Rehnert

«Parallaxe» für kleines Ensemble.

***

Simon Berz «STIMMung».

***

Andreas Glauser (brainhall.net)

«Surfaces de son/

poids de métal / intervalles»

Orgel / Metallgewichte

***

Jörg Köppl

«Rauschen 01»

für kleines Ensemble und Computer.

***

Sebastian Hofmann

«liminaler Raum» für Ensemble.

***

Moderation: Claire Geyer

***

Technik: Rainer Rütimann

***

Realisierung und Organisation

Sebastian Hofmannn

Herzlichen Dank an:

ensembleTZARA, Perla-Mode,

Präsidialdepartement der Stadt Zürich

Schweizerische Interpretenstiftung

Radio Lora.

This special radio show about computer music aesthetics curated by Martins Rokis for the radio program “Skanu Mezs” run by “Skanu Mezs” festival, will be broadcast Monday, June.7. 22.00.-23.00. (GTM+3 time zone) on local radio station NABA 93.1 FM (radio NABA online here) with exclusive tracks from Roc Jiménez de Cisneros aka Evol,  Daisuke Ishida,  Rubén Patiño aka Pato, Mark Fell,  Joe Gilmore,  Lee Gamble, Bernd Schurer, Yutaka Makino. Also works from Florian Hecker,  Russell Haswell,  Marcus Schmickler and more…

*”Psycho-Neural Geometrization Study 5″ by Mark Fell requires visual component available here: http://www.markfell.com/image.png “Listeners should stare at the image for the duration of the sound. They should go cross-eyed – aligning the two different colours – for the entire duration. This is quite tricky but possible.” – Mark Fell

This show will be in Latvian language. Martin will talk about topics like differences between digital and acoustic instruments, laptop performance issues (absence of spectacle, human computer interaction, authenticity, control versus decontrol, etc.) software environments, code as art, composing of processes and interactive, generative sound compositions vs finalized works onto a static medium and more+ of course some info about featured artists…

This will not be attempt to generalize computer music in some narrow, academic sense, in contrary it will be a subjective take on this topic and he will treat it like a interdisciplinary field without false pretense to pose as some sort of expert. The core motivation behind this show is to present some artists which might be unknown to”general public” and clarify some ideas, aesthetic choices, tendencies which might be unnoticed or misunderstood.

http://www.martinsrokis.com

: segment| e

Konzertreihe für experimentelle elektronische Hörmusik

live:

GREG HAINES (UK)

BERND SCHURER (CH)

donnerstag : 03.06.10 : 21.00

kunstraum walcheturm : kanonengasse 20 : 8004 zürich

: http://www.walcheturm.ch

MA Kompostion / Theorie – UA Masterclass EA / Composition Mundry/Perez

~tri | superfriction

(”Fragments on Unease”, Part 11)

∂ˆ‚ – play, Bernd Schurer, 2010, Computer Music Sonification Project

Computer Musik Studio FH, Zürich, 01062010, 19h-22h

100 Vignettes on Triangle Vektor Data Sonification in 2 dimensional space in a world without gravity but friction.

6 – Channel Electro-Acoustic Sound, Projection

Sonifikation adressiert das Ohr, das genaueste Messinstrument des menschlichen Körpers, welches wir unbewusst zur Orientierung in unserer Umgebung verwenden. Die einfachste Figur, eine Ebene mit einem Polygon zu beschreiben, ist das Dreieck. Reibung ist neben anderem Hemmung eines physikalischen Objektes in einer Welt der Behauptungen. Diese Dinge dienen u.a. als Ausgangspunkt für diesen Akt aus „Fragments on Unease“ (eine grossformatige Soundinstallation). Eckpunkte eines virtuellen Dreiecks, die einem Bereich der Friktion ausgesetzt sind, bilden zusammen einen vereinfachten Vektorraum, indem die Daten im 2 -dimensionalen Weltkoordinatensystem für die Metrisierung, Raumpositionierung und Synthese von mikrosonischen Trainletstreams eingesetzt werden. Die Welt der Ereignisse und deren Gesetze ist fiktiv, ein abstrakter, idealisierter und simulierter physikalischer Gesetzsraum.

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