Lautaggregat Redux (Quadophonic Version)

Electroacoustic Computer Music Diffusion

For Carlfriedrich Claus and Trevor Wishart, 2018

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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.

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

http://www.schoenegg-variete.ch

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Radiophonic Spaces

Begehbares Radioarchiv und Bühne des Hör-Wissens
Do, 01. November 2018 — Mo, 10. Dezember 2018

https://www.hkw.de/de/app/mediathek/audio/68269

https://www.hkw.de/de/programm/projekte/2018/radiophonic_spaces/radiophonic_spaces_start.php

Laura Lot
JETSAM
8 – 10 Juni 2018

Eröffnung, Freitag 8. Juni, 19.00 Uhr
Finissage mit electro-acoustic diffusion “Debris Redux” von Bernd Schurer, Sonntag 10. Juni, 16.00 – 20.00 Uhr

Auf ihrer Suche nach Bildmaterial, bestehend aus verloren geglaubten Familienfotos und lange vergessenen Zeitungsausschnitten, imaginiert sich Laura Lot als eine Strandgutsammlerin, die im Gezeitensaum zufällig auf angeschwemmte Objekte trifft.

Diese Fundstücke sind “Jetsam” (Strandgut): weggeworfen, verloren, verlassen, begraben… durch die Verarbeitung in ihren Collagen haucht die Künstlerin diesen neues Leben ein und präsentiert das so entstandene Werk in ihrer Soloausstellung in der Micro Galerie in Köln.

Der zugrunde liegende künstlerische Prozess könnte als Suche im Geröll gedeutet werden – die gefundenen Überreste werden so zum Ausgangspunkt für neue schöpferische Ereignisse.

https://www.facebook.com/events/387337731761918/

20. April, 20:30 Uhr

Atomistic – Performance
Elisa Storelli & Constantin Engelmann

Die audiovisuelle Performance der Tessiner Künstlerin Elisa Storelli dreht sich um Zeit und die Möglichkeiten ihrer Darstellung. Darin treten ihre zwei Werke “Time Piece” und “Neocortex” in einen Dialog.

Debris Redux (ANOTHER AUTOMATIC READING) (1997-2018)
Computer Music Performance von Bernd Schurer

Ein klangkünstlerisches Forschungsprojekt – Daten Sonifikation und Komposition zu Okumolotorik und spezifischen Varianten des Lesens unter Verwendung eines dafür komponierten Librettos, elektronischer Klangsynthese und Mehrkanal-Raumdiffusion.

Für Computer, Eye-Tracker, Performer(in) und Mehrkanal-Audiosystem

http://www.walcheturm.ch

2018/03/28 – Berlin | Music by Bernd Schurer

Share Control, Share Influence

Mittwoch, 27.9.2017, bis Freitag, 29.9.2017 (10 – 18 Uhr)
Samstag, 30.9.2017 (14 Uhr)

Im Fokus des viertägigen Workshops stehen die Möglichkeiten, welche die Programmiersprache SuperCollider für netzwerkbasierte gemeinsame Musikperformances bietet. Öffentliches Abschlusskonzert am Samstag, 30.9., 14 Uhr. Gäste, die sich in das Netzwerk einklinken wollen, sind herzlich willkommen!

Dozenten: Alberto de Campo, Fredrik Olofsson, Hannes Hoelzl, Alexandra Cardenas

Concert participation on 30.9.17 – 14h

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http://www.adk.de/de/projekte/2017/kontakte17/workshop.htm

Happy to announce that Titus von der Malsburg an myself  are part of this years’ xCoAx exhibition programme with our research piece Automatic Reading (obfuscation):

http://2017.xcoax.org

xCoAx is an exploration of the intersection where computational tools and media meet art and culture, in the form of a multi-disciplinary enquiry on aesthetics, computation, communication and the elusive X factor that connects them all.

Since 2013, xCoAx has been an occasion for international audiences to meet and exchange ideas, in search of interdisciplinary synergies among computer scientists, artists, media practitioners and theoreticians at the threshold of digital arts and culture.

The focus is on the unpredictable overlaps between the chaos and freedom of creativity and the rules and determinism of algorithms, between human nature and machine technology, with the aim to evolve towards new directions in aesthetics.

In 2017 xCoAx will take place for the first time in Lisbon, in and around the Faculty of Fine Arts, right in the heart of the city center in Chiado.

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Bernd Schurer and Titus von der Malsburg Automatic Reading (Obfuscation)

During reading, we rapidly construct meaning from sequences of rather cryptic symbols. A multitude of processes are involved in making meaning happen, however, most of them are conveniently tucked away from the reader’s conscious experience allowing them to read effortlessly without having to worry about any of the practicalities such as where to place the gaze next and for how long. The present work reflects on the marvelous feat that is reading. In an experiment-like situation, we create a perceptual short-circuit that unlocks the otherwise unconcsious processes involved in reading. To this end, the test subject is exposed to a written libretto while a computer tracks their eye movements and translates them to sound in real time. The artistic implementation is based on parametric synthesis (“mapping”) and model-based sonification.

Supported by Pro Helvetia — Swiss Arts Council

https://schurer.bandcamp.com/album/automatic-reading-obfuscation

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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:

YVES NETZHAMMER: Concave Thoughts

A visual parcours with drawings and animations

BERND SCHURER: +3200 – A sonified reading (installation) & 32 Minutes of scattered pieces (live)

26.01.2017, 19:00

ESPACE DIAPHANES, Dresdener Str. 118, 10999 Berlin

Exhibition opening with book launch, video screening and miniature electroacoustic quadrophonic sound intervention by Bernd Schurer.

The exhibition focuses on Netzhammer’s recent book ‘Concave Thoughts. 357 Digital Drawings’, an artist’s book which exists in an edition of 32 varied front covers and with 3200 permuted sets on 32 printed sheets. The exhibition shows the book as an object, as a pocket universe for reflection, chuckling and musing, and will interrelate the book object with the artist’s animations.

Like Netzhammer’s work in general, the digital drawings shown in the book and in the exhibition, open up to a widely-ramified cosmos of poetic imagery by showing surreal constellations drawn with the utmost precision and clarity. Sometimes these drawings are near to total abstraction, sometimes playful, funny, and nightmarish at the same time. They mix different levels of reality by melding living creatures with machines, intertwining objects and animals, interlocking the human and the object, leading the viewer into the interplay of strangeness and identity, genesis, metamorphosis and resemblance. Last but not least the drawings uncover the contradictions of medially subverted authorship and subjectivity.

Exhibtion: Januar 27th to March 3rd

Regular Opening Hours:

Wed to Fri: 2pm to 6pm

Sat: 11 am to 4pm

https://www.facebook.com/events/226706274404974/

The book:

http://diaphanes.de/titel/concave-thoughts-2851

More from Diaphanes:

http://diaphanes.de/

Part of CTM Vorspiel:

https://www.facebook.com/Vorspiel-transmediale-CTM-1542384379420868/?fref=ts

Yves Netzhammer:

Yves Netzhammer, born in 1970, studied Art at the Zurich College of Art and Design. Since 1997, he has been working on a widely ramified, poetic cosmos of imagery. His video installations, objects, slide shows and drawings fascinate through their bodily charisma and their formal clarity. The playful recombination of elements which seemingly can not be combined leads to the threshold of our existence’s dark side: soothing aspects interlock with displeasing ones, the dead melts with the alive into creatures never seen before, and the depicted scenarios run from microscopic to giant scales.

Solo exhibitions include LWL, Münster (2016), Kiev Biennale, Kiev (2015), MONA, Tasmania (2013), Minsheng Art Museum Shanghai (2013), Kunstmuseum Luzern (2011), Kunstmuseum Bern (2010), Palazzo Strozzi (2009), SFMOMA, San Francisco (2008), Venice Biennale (2007), Karlskirche Kassel (supporting program documenta 12, 2007), Museum Rietberg, Zürich (2006), Kunsthalle Bremen (2005) and Helmhaus Zürich (2003). Group exhibitions include Liverpool Biennale (2010), Kunstmuseum Wolfsburg (2007), Witte de With and TENT, Rotterdam (2006), Wilhelm Lehmbruck Museum, Duisburg (2006) and National Gallery Prague (2005). Yves Netzhammer lives and works in Zurich.

www.netzhammer.com

Bernd Schurer:

Bernd Schurer’s transdisciplinary artistic focus lies on the work with sound in a broad spectrum of different contexts: a constant shift via research and experimentation, strongly investigating the experiential relationship between sound, science, cognition, space and the (human) body. There is a strong fascination in the study of the perception of sound itself, and there are numerous artistic projects in domains like Algorithmic Computational Art, Psychoacoustics, Electronic Music Composition, Sonification and Audio-Visual Representation Systems. Presentations may come in the form of Computer Music Diffusion to installation work to abstract Sound Art. Some of it has been exhibited internationally on various scales, from micro galleries to public space, from “art at home” to the Venice Art Biennial. Since 1996 he was a co-editor and curator for electronic music works for the domizil.ch label in Zürich, together with Marcus Maeder. He also is active in the domains of sound design and composition for Film and through various curatorial projects. He has been working with Yves Netzhammer on a multitude of projects since almost 15 years.

Bernd Schurer (born 1970 in Zurich, lives in Berlin) studied Philosophy and Film Science at the University of Zurich and Visual Art at the Lucerne University of Applied Sciences and Arts as well as Electroacoustic Composition and Theory at the Zürich University of the Arts.

www.heterophenomenological.net | www.hyperlinear.net

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Schurer Blind Material

Blind Material (obfuscation) 2:15 Fuzzy Arc 1 8:42 Complicity with Contingency 6:14 Soliloquy Synthesis 32:08 Befall 2:49 Fuzzy Arc 2 10:31

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A reconfiguration of electronic sound-pieces composed in 2008 by Bernd Schurer.

Scatter resynthesis algorithm by Alberto de Campo. Reconfiguration algorithm based on H.A.R.I.N.G. classes for SuperCollider by Darien Brito.

Direct to disk re-recordings.

Published 2016 by domizil.

www.domizil.ch

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20 years domizil

A celebration of the Swiss computer music label domizil & friends – with electronic music concerts, diffusions and a new CD edition.

Line Up:

live:

Asmus Tietchens (DE)
Luigi Archetti (CH)
Bernd Schurer (DE)
Jedan Nula (CH)
Martin Neukom (CH)
Ralph Steinbrüchel (CH)
Thomas Peter (CH)

Special guest: Joke Lanz / Sudden Infant (CH/DE)

Installation: Devotionalie, Marcus Maeder, 1996/2016

Daniel Bisig: Watchers

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Date: Sat, 17.12.2016

Venue: Kunstraum Walcheturm
8004 Zürich
www.walcheturm.ch

Doors: 19:00
Start: 19:30 *
Tickets (at the door): 20.-CHF

*we start early, so please come on time. Last concert will be 23:30.

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[show] Cemetery of Clouds – Netzhammer / Schurer – 3rd Shenzhen Independent Animation Biennale, Guangdong, China

“Cemetary of Clouds“ – Yves Netzhammer

Multichannel video and sound installation with mirrors, projections, spatial object.

New commissioned sound piece “cracked” – running form 2.12.16 – 7.3.17

32 Minutes, 4.1 – adopting EMF sound recordings, sound recordings from navigational- and surveillance data systems, all finely calibrated through glorious granular synthesis processors and

spatial animation.

Running with the theme “Time Based, Non-places,” the 3rd Shenzhen Independent Animation Biennale will run from December 2 to March 7.

http://www.e-flux.com/announcements/66711/the-3rd-shenzhen-independent-animation-biennale/

Shenzhen OCT-LOFT C2

Kaiping St

Shenzhen

China

szx3iab.com

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20 years domizil

A celebration of the Swiss computer music label domizil & friends – with electronic music concerts, diffusions and a new CD edition.

Line Up:

live:

Asmus Tietchens (DE)
Thomas Ankersmit (NL/DE)
Alberto de Campo (AT/DE)
Bernd Schurer (CH/DE)
Daisuke Ishida (JP/DE)
Benjamin Flesser (DE)
Martin Neukom (CH)
Ralph Steinbrüchel (CH)
Darien Brito (EC/NL) – electroacoustic diffusion of the “Debris”-cycle

Installation: Devotionalie, Marcus Maeder, 1996/2016

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Date: Sat, 10.12.2016

Venue: silent green Kulturquartier, Cupola
Gerichtstraße 35
13347 Berlin
www.silent-green.net

Doors: 16:30
Start: 17:15 *
Tickets (at the door): 15.-€

*we start early, so please come on time. Last concert will be 22:30.

https://www.silent-green.net/newsletter/a-happening-20-jahre-domizil.html#c583

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About: domizil commenced in 1996 on the initiative of artists Marcus Maeder and Bernd Schurer in Zürich, Switzerland. domizil sees itself as a platform for coordination, presentation, production, interchange and cooperation, focusing on publishing and distributing the work of its network of artists – via record releases, events, installations and electronic music concerts. From its first release, domizil has been poised for an in-depth exploration of digital culture, its sounds,
methods and social context. The aesthetic focus lies on sonic art and all the many facets of this practice today – well beyond genre and definition.
www.domizil.ch

The Zürich event at Kunstraum Walcheturm will be announced shortly.
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Presented to you by www.hyperlinear.net

Thank you for financial support: Stadt Zürich Kultur, Swiss Arts Concil Pro Helvetia.

EVENT:

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Artist Bios: (sorry for the mismatch of english and german, will be corrected shortly)

Asmus Tietchens (DE)

Synthesizer experimentalist and musique concrète producer Asmus Tietchens began recording in the mid-‘60s and continued to record three decades after that. Born in 1947 and based in Hamburg, Tietchens listened to German radio as a child and heard pioneering electric transmissions by the likes of Stockhausen and Gottfried Michael Koenig. He began recording his own home experiments in 1965 with crude reverb devices and picked up a MiniMoog several years later. Also influenced by atonal Kraut-rockers like Cluster and Faust, Tietchens met Okko Bekker and began a partnership that lasted for decades (Bekker has produced most of Tietchens‘ work). After Tangerine Dream‘s Peter Baumann heard a tape of his work, he produced Tietchens‘ debut album Nachtstücke, released in 1980 on Sky Records. His four albums for Sky during the early 80s focused on surprisingly accessible electronic pop, though 1984‘s Formen Letzter Hausmusik (recorded for Nurse with Wound‘s United Dairies label) began a period of more abstract, concrète recordings that often use tape experiments as well as synthesizers. During the 90s, Tietchens recorded for experimental labels Barooni, Staalplaat and Syrenia, the latter a 1996 collaboration with Vidna Obmana. Since 1990, he has also taught sound at a Hamburg university.
http://www.tietchens.de/

Alberto de Campo (AT/DE)

Alberto de Campo, Künstler, Musiker, Komponist, arbeitet in sehr verschiedenen Kontexten. Er hat Komposition und Jazz-Gitarre in Österreich studiert, und elektronische Musik / Computermusik in den USA. Er war Visiting Scholar und Research Director am CREATE (an der UC Santa Barbara); danach hat er am IEM Graz und an der Kunsthochschule für Medien Köln (KHM) gelehrt. 2004/5 hatte er die Edgard Varèse-Gastprofessur für Elektronische Musik an der TU Berlin inne.

Von 2005-2007 war er lead researcher im Forschungsprojekt ‘SonEnvir’ (am IEM Graz), das mit einem interdisziplinären Team die Anwendbarkeit der Sonifikation von Daten für verschiedene wissenschaftliche Disziplinen experimentell untersuchte. Von 2007-2009 war er Professor für Musikinformatik am Institut Fuer Musik Und Medien der Robert Schumann Hochschule Düsseldorf, und seit 2009 ist er Professor an der Universität der Künste Berlin.

Er arbeitet mit den Ensembles powerbooks_unplugged, Quiet Noise Quartet, realtime_research, mit Elisabeth Harnik, Florian Hecker, Marcus Schmickler, und vielen anderen. Seine Interessen umfassen algorithmische Kunst, just-in-time programming, Improvisationspraxen, Sonifikation wissenschaftlicher Daten, und selbststeuernde Systeme.

https://www.udk-berlin.de/personen/detailansicht/person/alberto-campo-1/

Ralph Steinbrüchel (CH)

Der Zürcher Musiker und Grafiker Ralph Steinbrüchel (*1969) arbeitet seit vielen Jahren, sowohl musikalisch als auch visuell an der Erschaffung von Texturen und Atmosphären durch stringente Reduktion. Das Aufeinaderschichten minimaler Variationen, deren Schichtungen immer wieder neue Strukturen und Formen ergeben, steht im Zentrum seines Schaffens. Sowohl in der Musik als auch in der visuellen Gestaltung arbeitet Steinbrüchel mit Gestaltungsrastern, minimaler Varianz und bewusstem «Weissraum» (Grafik) bzw. Stille (Musik.) Damit steht sein Werk, geprägt von Reduktion, in bester Tradition der Schweizer Grafik.
Mit zahlreichen Veröffentlichungen und Konzerten hat Steinbrüchel sich im Bereich der elektronischen Musik bereits international einen Namen gemacht. 2002 wurde sein Werk in New York vom Österreichischen Kulturamt mit dem Max Brand Preis für elektronische Musik ausgezeichnet. Er erhielt bisher zwei Kompositionsaufträge der Schweizerischen Kulturstiftung Pro Helvetia. Steinbrüchel veröffentlicht seit 20 Jahren elektronische Musik auf diversen Labels wie zum Beispiel Domizil (CH), 12k (USA), LINE (USA), Room40 (AUS), NVO (A). Zudem wurden einige Kollaborationen mit Bernd Schurer, Frank Bretschneider, Cory Allen und Machinefabriek erarbeitet und veröffentlicht.
http://www.synchron.ch/

Thomas Ankersmit (NL/DE)

(*1979, Leiden, Netherlands) is a sound and installation artist based in Berlin and Amsterdam. Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound have been an important part of his work since the early 2000’s. His work is also characterized by a deliberate misuse of the equipment, using feedback and disruptions to the signal, and the extremes of frequency and dynamics, to create visceral but finely detailed swarms of sound. Since 2006 his main instrument, both live and in the studio, has been the Serge analogue modular synthesizer.
http://thomasankersmit.net/

Daisuke Ishida (JP/DE)

Daisuke Ishida ist ein in Berlin basierter Künstler, der mit Klang und zeitgenössischen Medien arbeitet. Er interessiert sich für die Konsequenzen der künstlerischen Praxis und Theorie in Klang, Raum und Wahrnehmung. Seine multidisziplinären Untersuchungen umschließen Bereiche wie Akustik, Architektur, auditive Wahrnehmung, Computer-Musik und andere verwandte Fachgebiete. Seit dem Jahr 2012 lehrt er an der Universität der Künste Berlin beim UNI.K Studio für Klangkunst und Klangforschung und im Masterstudiengang Sound Studies. 2009 gründete er AUSREIHE, eine unabhängige Organisation, die sich auf experimentelle Elektronische / Computer-Musik spezialisiert hat. Zusammen mit Ken Furudate, Kazuhiro Jo und Mizuki Noguchi rief er 2002 The SINE WAVE ORCHESTRA ins Leben, dass im Jahr 2004 eine Honorary Mention in der Kategorie Digitale Musik des Prix Ars Electronica 2004 gewürdigt wurde und 2009 ein Stipendium der Stiftung Niedersachsen für Medienkunst am Edith-Ruß-Haus erhielt. Daisuke Ishida präsentierte seine künstlerischen Arbeiten bereits bei mehreren internationalen Institutionen und Museen, unter anderen bei Ars Electronica (Östereich), Arsenals of the Latvian National Museum of Art (Lettand), deaf – Dutch Electronic Art Festival (Niederlande), Edith-Ruß-Haus für Medienkunst (Deutschland), ICC – InterCommunication Center (Japan), Interferenze New Arts Festival (Italien), International Triennale of Contemporary Art Yokohama (Japan), ISEA – Inter-Society for the Electronic Arts (USA), MART – Museum of Art, Rovereto and Trento (Italien), MOT – Museum of Contemporary Art Tokyo (Japan), Singuhr Hoergalerie (Deutschland), SMT – Sendai Mediatheque (Japan), Steim (Niederlande), sowie Transmediale (Deutschland) und YCAM – Yamaguchi Center for Arts and Media (Japan).
http://isddsk.com/

Martin Neukom (CH)

Studien 21
Konzert für dreidimensionale Klangprojektion (Ambisonics)

Martin Neukom studierte Musikwissenschaft, Mathematik und Psychologie an der Universität Zürich und Musiktheorie an der Musikhochschule Zürich. Er ist Dozent für Musiktheorie, Mathematik und Musikinformatik am Departement Musik und wissenschaftlicher Mitarbeiter am Institute for Computer Music and Sound Technology ICST der Zürcher Hochschule der Künste.
http://www.domizil.ch/neukom.html

Bernd Schurer (CH/DE)

Bernd Schurer, geboren 1970 in Zürich, ist Klangkünstler und Komponist Elektronischer / Elektroakustischer Musik. In der Schweiz studierte er Philosophie und Filmwissenschaften, Bildende Kunst und Komposition. Heute lebt und arbeitet er in Berlin. Der Kern seiner Werke umfasst die Thematisierung von Wahrnehmungsaspekten des Hörens mit erweiterten Methoden zur Komposition von wahrnehmungsspezifischen Eigenheiten im Klang und deren Spatialisierung. Mittels Techniken digitaler Klangsynthese, der Psychoakustik und der Erkundung der Zahl als gemeinsamem Objekt von Musik und Mathematik entwickelt Schurer dramatische “Sound Pieces”. Seine Arbeiten bestehen aus zahlreichen Kompositionen Elektronischer Musik, Audiopublikationen, Werkaufträge für Ensembles, internationale Konzert- und Ausstellungstätigkeit, Installationen und kuratorische Tätigkeit, sowie preisgekrönte Kompositionen und Klanggestaltungen für Filme. Durch Interventionen und
Zusammenarbeiten mit dem Schweizer Medienkünstler Yves Netzhammer wurde Schurer auch bekannt im Bereich der Bildenden Kunst – diese Kollaborationen führten u.a. zu Präsentationen an der Biennale von Venedig 2007 oder der documenta 12 in Kassel (Karlskirche). Er ist Gründungsmitglied des Schweizer Klangkunst-Labels domizil.
http://heterophenomenological.net/
http://hyperlinear.net/

Benjamin Flesser (DE)

Benjamin Flesser is a media artist and composer. He works with modular synthesizers and manipulated or self built electronics. In one of his earlier performances „Verlust von Aufnahmefähigkeit“, he used a amplified diamond saw to cut a running microphone in half. He lives and works in Berlin.
https://benjaminflesser.bandcamp.com/
http://hyperlinear.net/

Darien Brito (EC/NL)

Debris[0], Debris[1], Debris [2] – 4.1 electro-acoustic diffusion (Operator: Bernd Schurer)

Darien Brito is a composer/performer from Ecuador currently based in The Hauge, The Netherlands, working with audiovisual elements through technology. The main concerns in his work are segmented musical forms, micro-sound, generative algorithmic structures and sound design by itself. The visuals aspects in his pieces are an extension or counterpart to this concerns. He holds an MA in Sonology, Institute of Sonology-Royal Conservatory of The Hague and works as a Research Associate, Institute of Sonology-Royal Conservatory of The Hague, The Netherlands.
http://darienbrito.com/

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Installation:

Devotionalie

Marcus Maeder, 1996/2016
Sockel, Kassettengerät, Kassette

Devotionalien sind Gegenstände, die der Andacht (lateinisch devotio ‚Hingabe‘, ‚Ehrfurcht‘) und der Förderung der Frömmigkeit dienen sollen. Maeders Installation „Devotionalie“ ist eine Neuinterpretation der urprünglichen Version von 1996, die anlässlich der Ausstellung „Kiss the future“ im Kunstmuseum Luzern ausgestellt wurde. Auf einem goldenen Sockel steht ein Kassettengerät aus den 1970er-Jahren. In dieses eingelegt ist eine Kassette mit elektronischer Musik, die sich mit einem danebenliegenden Kopfhörer hören lässt. Neben dem Gerät liegt weiter die Kassettenhülle, mit einem Bild aus der Agglomeration Zürichs auf seiner Frontseite. Auf der Kassette steht nichts weiter als „domicile edition.“ Während die ursprüngliche Version aus einer auf den Boden aufgemalten runden Fläche bestand, hebt der Sockel nun symbolisch die restlichen Installationkomponenten um 20 Einheiten.

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Premiere des Animations- Films “The Sweet Lemon Ballad” von Klodin Erb.

Er wird im Rahmen der Ausstellung der Werk- und Atelierstipendien der Stadt Zürich im Helmhaus das erste Mal am 7. Oktober 2016 ab 18Uhr aufgeführt.

Die Ausstellung dauert vom 8.Oktober bis am 20. November 2016

Helmhaus Zürich

Kunst, Konzept & Animation: Klodin Erb

Kamera: Thomas Isler

Sound: Bernd Schurer

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I had the pleasure to work on the Sound Design for Rolando Colla’s new Feature Film “Seven Days” (Sette Giorni)…

Permiere at ZFF: 2.10.16 20h Filmpodium Zürich

https://zff.com/en/archive/4859/

http://www.peacock.ch

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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

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Looking forward being part of this event:

NK Presents 3 nights at Berlin Atonal 2016

N.K. curated Rahmenprogramme in OHM includes:

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Yoni Silver (amplified bass clarinet debut) | Pan Daijing | Group A DJ set | Bernd Schurer | HATAM DJ sets | Lag Os DJ set | Marta Zapparoli | Native Instrument | PURE DJ set | Benjamin Flesser 

I will present another electroacoustic diffusion mutation version of “Soliloquy Synthesis”.

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http://www.berlin-atonal.com/atonal-2016/

My sound-piece “Residue”, based on “Victory over the Sun” and part of Yves Netzhammer’s “Das Brett ist das Kind der Säge” will be presented in 5.1 surround in the context of “Gastinterventionen” within the exhibition project “Um die Ecke denken” at Haus Konstruktiv, Zürich.

http://hauskonstruktiv.ch/deCH/ausstellungen/aktuell/um-die-ecke-denken.htm

Um die Ecke denken

Die Sammlung Museum Haus Konstruktiv (1986–2016) und Gastinterventionen
2. Juni bis 4. September 2016

kuratiert von Sabine Schaschl und Evelyne Bucher

Mit Gastinterventionen von: Olaf Breuning, Claudia Comte, Martin Creed, Sylvie Fleury, Christian Jankowski, Yves Netzhammer, Nedko Solakov, Martin Walde und WBG AG – 30 Jahre Grafik für das Museum Haus Konstruktiv

Berlin premiere of Mehdi Benhadj-Djilali’s fabulous documentary film The Offsiders at 11mm Film Festival.

Kino Babylon 2, Berlin Mitte.

18.03.16 – 20h45

With an electronic soundtrack composed by Yours truly, Bernd Schurer.

http://zweikaempfer.com

http://www.11-mm.de/index.php/en/

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http://hyperlinear.net

I will prepare a version of my piece TONE  for diffusion at this event.

04/03/2016
Thomas Ankersmit | Bernd Schurer
Subject: Otoacoustic Emissions
20:00 SPEKTRUM, Berlin

Otoacoustic emissions (OAEs) are sounds given off by the inner ear when the cochlea is stimulated by a sound. When sound stimulates the cochlea, the outer hair cells vibrate. The vibration produces a nearly inaudible sound that echoes back into the middle ear. The sound can be measured with a small probe inserted into the ear canal.

For the first part of Hyperlinear the artists Bernd Schurer and Thomas Ankersmit will perform two shows focussing on the phenomenon of otoacoustic emissions. The expertise and different aesthetic approaches of the artists will give a contrasting insight and experience of the topic.

Thomas Ankersmit (1979, Leiden, Netherlands) is a musician and installation artist based in Berlin and Amsterdam.

Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound have been an important part of his work since the early 2000’s. His music is also characterized by a deliberate misuse of the equipment, using feedback and disruptions to the signal, and the extremes of frequency and dynamics, to create visceral but finely detailed swarms of sound.

Since 2006 his main instrument, both live and in the studio, has been the Serge analogue modular synthesizer.
Bernd Schurer (*1970, Zürich, lives and works in Berlin) is a sound artist and composer. He studied Philosophy and Film Sciences (University of Zürich), Visual Art and Composition in Zürich and Lucerne .

In his work he addresses aspects of psychological and aesthetic perception via audition through means of digital sound-synthesis, electro-acoustics and experimental conceptual processes. A central practice is the inclusion of psychoacoustic phenomena and spatial multichannel composition.

The focus is exclusively on the sensation of hearing – these sound-pieces, albeit minimal in setup, are very physical and may be better experienced in a context that allows for a strong experiental concentration with an audience – thus installation work is often preferred over “music performance”.

His work comprises installations, concert performances, curating and audio releases as well as numerous collaborations with artists in the fields of transdisciplinarity and film, most notably his longstanding collaboration with swiss visual artist Yves Netzhammer.

Facebook event

Soliloquy Synthesis

03.03.16 01.04.17

LWL MUSEUM FUER KUNST UND KULTUR, MUENSTER

7 channel electroacoustic sound

Superstructure

133 Minutes

https://www.lwl.org/LWL/Kultur/museumkunstkultur/ausstellungen/yves-netzhammer

A population of virtually synthesised characters and species soliloquizes and communicates in the superstructure of Yves Netzhammers Installation “Selbstgespräche nähern sich wie scheue Rehe” – this piece also incorporates analog modular synthesis and field recordings – a recency in my artistic practice since the year 1999. Nevermind.

Press:

Der Schweizer Künstler Yves Netzhammer (*1970) entwickelt eigens für den Lichthof eine raumgreifende Installation. Mittels Videoprojektionen, zeichnerischen und bildhauerischen Elementen schafft er ein Gefüge, das den Innenhof und seine umlaufenden Gänge in einer Erfahrungsebene zusammenführt.

Netzhammers bühnenartige Einbauten können einem Parcours gleich von den Besuchern betreten werden. Dort tauchen sie in eine physisch reale doch zugleich fiktionale Welt ein. In den computeranimierten Videosequenzen inszeniert Netzhammer einen Protagonisten, der als Projektionsfläche für Emotionen und Erlebnisse dient. Immer wieder taucht eine geschlechtslose Gliederpuppe ohne individuelle Eigenschaften auf, die allgemeine Wesensmerkmale des Menschen trägt. So befragt er das Verhältnis von Körpern zum Raum und schafft ein vielschichtiges Feld für Auseinandersetzungen. Die Wahrnehmung von Dingen, ihrer Umgebung und dem Menschen darin wird zu einer spezifischen Erfahrung von Zeit und Dasein in der Welt.

Soundpiece: Bernd Schurer

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