News for the ‘Uncategorized’ Category

[release] crippled

the tangent circle

[release] the tangent circle

https://schurer.bandcamp.com/album/the-tangent-circle

Posted: March 26th, 2023
Categories: computer music, Uncategorized
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[release] sinthome topos

[release] inA

For eight computer- controlled solenoids, medical tuning forks and eight digitally controlled sine-wave- oscillators. Made with SuperCollider. Also, worship The Glitch.

https://schurer.bandcamp.com/album/ina

Posted: December 4th, 2022
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[release] 3 soundtracks

[release] TAGE OHNE STUNDEN

https://schurer.bandcamp.com/album/tage-ohne-stunden-formales-gewissen-adressen-unm-glicher-orte?fbclid=IwAR1WMehQtWuhOM0YX_VZynOh7lKElKkNozwWA_4EeQkaJkAksPstD7jEhck

#nothingness242

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Schurer

Formales Gewissen
Adressen unmöglicher Orte
Tage ohne Stunden

3 sountracks

was performed by Bo Wiget on Cello. Re-Synthesis on Computer by Bernd Schurer.

was performed by Iva Sanjek on Ondes Martenot and Spring Reverb. Composed and assembled on Computer by Bernd Schurer.

was performed by Iva Sanjek on Ondes Martenot. Granular Re-Synthesis and algorithmic composition by Bernd Schurer.

Composed for Installation works by and for Yves Netzhammer, 2013, 2014, 2015.

Nothing is lost, all is found.

Published November 2022.

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Posted: November 26th, 2022
Categories: code, computer music, release, theory, Uncategorized
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[event] NNOI 2021, Brandenburg

Posted: August 8th, 2022
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[0]x51 test

[0] []

https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1164161884&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true N.N. · Changes#nothing No.20

Posted: November 21st, 2021
Categories: code, Uncategorized
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]Ç[ chroma

https://soundcloud.com/schurer/chroma1_mirrors

Posted: July 10th, 2019
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[release] Enunciation 28:00:00

Enunciation 28:00:00 | Soliloquy Synthesis | [] Black Box

 

here

 

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Posted: May 29th, 2019
Categories: computer music, release, Uncategorized
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[event] Lautaggregat Redux at Schönegg Varieté | Zürich

 

Lautaggregat Redux (Quadophonic Version)

Electroacoustic Computer Music Diffusion

For Carlfriedrich Claus and Trevor Wishart, 2018

Computer based Waveset-Analysis, Decomposition, Re-synthesis and Re-Spatialization based on Ideas of Carlfreidrich Claus’ “Lautaggregat”, binaural Version, produced at WDR Studio Cologne 1993, originally re-synthesized for Radiophonic Spaces 2018 exhibition at HKW, Berlin.

Carlfriedrich Claus war ein deutscher avantgardistischer Künstler auf den Gebieten der Schriftgrafik, der Visuellen und Konkreten Poesie sowie der Lautpoesie. Er schuf ein Gesamtwerk von mehreren hundert Tonbandkassetten mit Artikulationen, Sprachblättern, Handzeichnungen, Büchern, Druckgrafiken, Briefen und anderem mehr. 

Seine Arbeiten hatten den Anspruch, den Rezipienten ganzheitlich zu fordern. Seine Arbeiten können stets als ein Selbstexperiment erfasst werden. Zu Beginn schrieb Claus konkrete Gedichte auf der Schreibmaschine. Diese Lyrik hatte u. a. Natur und Zeit zum Thema. Später werden die Motive „Klang“ und „Vibration“ wichtig und er schrieb mit der Hand. Claus Literatur ist experimentell und kann nicht einfach kategorisiert werden. Beim Anfertigen seiner „Sprachblätter“ oder auch „Vibrationstexte“ artikulierte er gleichzeitig, sodass es quasi ein Werk auf mehreren Ebenen darstellt. 

In Bernd Schurer’s Arbeit “Lautaggregat Redux” (bezogen auf die Originalaufnahmen eines 1993 beim WDR in Auftrag gegebenen radiophonen / räumlichen Hörstücks in Binauraltechnik) wird eine akustische Lupe aufgebaut, welche reziprok mit den Eigenheiten in der Sprache und den Lauten der Komposition mit erweiterten Methoden zu Analyse, Dekomposition und Resynthese des Stücks arbeitet. Weil teils Werke von Carlfriedrich Claus für den Rezipienten ohne Lupe kaum lesbar waren, weigerte er sich bis in die 1990er Jahre, seine Werke vergrößert ausstellen zu lassen. (source: WPD)

Schurer’s Arbeit vergrössert die Nuancen dieser Arbeit in der akustischen Ebene, in dem er die Originalaufnahmen mit Techniken der Analyse, den Wavesets (eine von Trevor Wishart vorgeschlagene Methode zur granularen Analyse bei Nulldurchgängen digitaler Audiodateien), deren Resynthese und neu geschaffener, quadrophonischer Verräumlichung anbietet und sie gleichzeitig in einem mikrosonischen Raum als eine eigene Variante des Selbstexperiments einer “komplizierten” auditorischen Artikulation aufführt.

_

Zürich, 7.1.2019, from 19h – Registration only _ Januarloch Festival

http://www.schoenegg-variete.ch

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Posted: January 4th, 2019
Categories: computer music, event, Uncategorized
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[release] Enunciation 1:08:19

Enunciation 1:08:19 – Soliloquy Synthesis (VI) – Black Box

For string instruments, modular synthesizer, digital delay, 2017 – Stereo Version

A Black Box in cybernetics denotes a complex system that in context can only be observed by outside observation. How to observe Solitude? A state of seclusion or isolation is the base of these revolving systems that understand archives of solitude to be records that have been generated as a product of negative effects in a symbolic sense.

Tom Withal, cello | Bernd Schurer, electronics

Listen | download here:

 

Posted: May 11th, 2017
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[show] hyperlinear #4 – Andrea Borghi, Discomateria | Museum Kesselhaus – Berlin

Hyperlinear and N.K. present
Andrea Borghi – Discomateria

Opening night:
Wednesday Sept. 7th
from 6pm

Exhibition:
Thursday Sept. 8th and Friday Sept. 9th
from 12am to 6pm

Closing night with performances by:
Lucio Capece | Mario de Vega | Adam Asnan |Andrea Borghi
Saturday Sept. 10th
from 6pm

Andrea Borghis recent work is focused on the idea of “osmosis”, with particular attention to an osmotic relationship between sound and matter.

Discomateria are objects in the shape and size of an LP manufactured in various materials such as glass, resin, metal and recently marble amongst other materials.
In practice, discomateria are used by Andrea Borghi to produce sound directly from the material by being played on modified and customized turntables and processed with substances that transform the structure of the materials surface such as acid.
These discs are treated and in real-time processed to generate sound and also becomes autonomous art objects.

The idea of osmotic sound derives from the motivation to overcome a “superficial” effect of sound and to make it as tangible as possible for the listener, through a psychoacoustic effect in a certain way “epidermal”. The sound becomes tactile and the material becomes auditory.
The sound source is real-time processed through Max/MSP patches (algorithms for sound processing) specifically designed to “shift” various registers of audio treatments to obtain a more physical and material effect in relation to the space.

For the closing night of the exhibition, Andrea Borghi will create a new autonomous sculptural work throughout the performance by processing a disc of raw material.

Andrea Borghi (*1974) is a sound artist and electroacustic composer based in Pietrasanta, Italy.
He completed his studies at the Academy of Fine Arts in Carrara in 1997. After starting out as instrument player he attended courses in composition and electronic music held by composer Andrea Nicoli at the Conservatory of Music G. Puccini in La Spezia and also expanding his activity to the field of visual and sound art, investigating their possible connections. His research is centered on using the software Max and often performs in audio-visual contexts. In 2002 he created Quaalude in collaboration with Dino Bramanti (1969-2008). More recently his work has focused around relationship between sound and matter. Founding member of the electronic improvisation quartet VipCancro, Andrea’s work is published on international music labels such as and/OAR (USA) Reductive (ESP) Observatoire (RU) Cipher Productions (AUS) SQRT (PL). His most recent cd Salnitter was released on Contour Editions. His main occupation is as an art teacher.

Hyperlinear, N.K. and the Museum Kesselhaus are delighted to welcome Andrea Borghi for his exhibition of the sculptural aspect of his discomateria project in Berlin at the historical Kessel Ebene (boiler level) of the Museum.

For the closing night of the exhibition, Andrea Borghi will create a new autonomoussculptural work throughout the performance by processing a disc of raw material.

Andrea Borghis Website | Soundcloud | YouTube

Adam Asnan ­- Bella Trays (Choir)
performance with choral accompaniment

Bella Trays is an instrument both electronic and acoustic in nature. It’s resonant motifs will repeat for a given duration, for any environment, and may continue irregardless of a listener’s proximity or attention; It is to lend itself to being a factor within the aural ambience of this environment.

The implements that Bella Trays now make exclusive use of, derive from a small range of instruments intended to colour or mask the spectral characteristics of a recording, and/or actuate a physical (acoustic) object by way of using that recording as an impulse. Bella Trays is the most reduced and most essential of these instruments. This version of the work will be performed for the first time with a choral accompaniment.

Adam Asnan (1983, UK) is an electroacoustic musician and location sound recordist, based between London and Berlin. His work promotes the aesthetic potential of recorded, amplified sound, the auditory ‘image’ and the virtues of spatialisation. His compositions, live performances and collaborative projects have been presented across Europe, with a number of published recordings.

Adam is one third of VA AA LR with Vasco Alves and Louie Rice.

Adam Asnans Website

Mario de Vega – Monologue
performance

Mario de Vega (*1979, Mexico City) Through site-specific interventions, acoustic phenomena, sculpture, performative events and publications in diverse formats, his research explores the vulnerability of systems, materials and individuals, and the value of simulation. His work has been exhibited in different contexts throughout Mexico, Canada, United States, Chile, South Africa, India, Russia, Japan and around Europe. He lives and works in Berlin and Mexico City.

Mario de Vegas Website

Lucio Capece – SPACE TUNING.CONDITIONAL MUSIC
performance with Flying Speakers, Intervented Space recordings, Spectral analysis

Experimental musician born in Argentina in 1968. Lives in Europe since 2002, and specifically in Berlin since 2004. He plays the soprano saxophone, bass clarinet, analog electronics (synthesizers, equalizers on feedback), Sruti Box and a set of Wire less speakers that fly hanging from Helium Balloons.
Educated as a Jazz and Classical musician in Argentina-Lyon and New York Capece, developed his work in the context of electro acoustic improvisation for over 15 years. At the moment, and since 2012 he focuses his sound work on the perceptual experience. Creating pieces that deal with specific characteristics of social and architectural spaces, and with the perception experience itself. He has done this through solo pieces mainly, as well as collaborations also based in the same interest.
He has released around 25 Cd’́s and LP’́s, in labels like Mego ( Austria), PAN (Germany) B-Boim (Austria), Potlatch, Drone Sweet Drone (France) , Another Timbre, Leaf, Hideous Replica (England), Formed (USA) , Mikroton, Intonema (Russia), Organized Music from Thessaloniki, Abusrd (Greece), besides others.
Among other projects In 2007 he directed the Project “Extended Modulator”, composing and performing music for and with the “Licht- Raum Modulator”, kinetic sculpture built by László Moholy-Nagy between 1922- 1930. The piece was offered at the Bauhaus Archive in Berlin.

As an improviser Capece has shared projects and released music with Radu Malfatti, Mika Vainio, Kevin Drumm, Axel Dörner. Robin Hayward, Christian Kesten, Toshimaru Nakamura, Burkhard Beins. Rhodri davies, Julia Eckhardt, among others.

As a performer he has worked with Pauline Oliveros, Peter Ablinger, Antoine Beuger, Michael Pisaro, Christian Wolff, Phill Niblock as part of the Ensemble Q-O2 from Belgium and the group Konzert Minimal from Berlin. He has been member of the Vladislav Delay Quartet. His work and research in perception, in recent years, has taken him to compose a piece including Video, based in texts taken from the „Cahiers“ of poet Paul Valéry.

To do Spectral projects based in intervented recordings of spaces, diffussed lately using speakers hanging from Balloons filled with Helium (Conditional Music), and a set of Pendulums created with wire less speakers.

He has performed Conditional Music in the context of very different spaces; The German Pavillion built by Mies Van der Rohe (Barcelona) the Halle d’Expositions (created by Alexandre Gustave Eiffel) in Evreux, France, the Cathedral of Bern (Zoom In Festival, 2012), The Mambo Museum in Bologna (Live Arts week 2012), and during the night, in Kleylehof, Austria (Reheat Festival 2013), in the wild countryside, using as only illumination a set of led lights placed inside the Balloons.

Lucio Capeces Website

Posted: September 7th, 2016
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[release] live recording – schurer duplets | NK – Berlin

Thanks for the live recording: Julian Percy, Farah Hatam

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duplets_nk

Posted: January 16th, 2011
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[release] movie soundtrack – summer games by Rolando Colla

Currently working on the “orchestral scoring” for the feature “summer games”, due to be out in late autumn 2011.

More soon.

Release via Soundcloud.

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Posted: January 3rd, 2011
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[show] Touched: Liverpool Biennial | Dialogical Abrasion | Yves Netzhammer – FACT, Liverpool

Dialogical Abrasion – Netzhammer/Schurer

New Commision: Sculptural Installation at FACT, Liverpool, UK, runs throughout November, as part of this edition’s Liverpool Biennial.

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Posted: September 18th, 2010
Categories: show, theory, Uncategorized
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[test] is a

test

Posted: June 7th, 2010
Categories: Uncategorized
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