Link to call for papers:
Round table Knock, Tap, Rap
Sounds Of Absence
Where is the sound? Nowadays, due to the current situation in the world, our sound environment is changing. Where the sound was crowded now it is absent. Sounds of absence is a project managed by A. R. S. (Art research sound), in which we are collecting a sonic archive of different places around the world, that now are empty, Airports, streets, trains, bus stations, and so on.
We would like to ask you for your kind help, please share with us a recording of a place that was busy but now is empty, someplace near your house, at least 5 minutes, and you can prolong as long as you want, you can take a picture if it´s possible for you, for sure your name will be mentioned and credited (if you are agreed). Along with the recording, we ask you to give the next information: Time, date, location ( name of the city, street, number, etc.)
The recording could be done with your cellphone, but if you have a different or better media, will be better. How is the sound of absence in your current days?
Please send your files to email@example.com
01. Dezember 2019, 16:55 Uhr, ARTE, Metropolis
Eindrücke vom Dreh mit dem ARTE Team am 9.November 2019. Der Beitrag läuft am Sonntag, den 01. Dezember 2019: Metropolis, 16.55 und ist jetzt schon online.
Link zum Video: Wie Klingt Europa – Peter Kiefer
verfügbar bis 28/02/2020
Wie klingen europäische Metropolen? Rolltreppen? Operationssäle? Und welchen Einfluss haben Sounds auf unser Leben? Das erforscht der Klangkünstler und Komponist Peter Kiefer. Für seine Klanginstallation „Liquid Borders“ hat er die Klänge des Meeres an den äußersten Punkten Europas aufgenommen.
Autor: Sven Waskönig
Redaktion: Naomi Naegele, HR
mehr Infos: www.ars.institute
LE SON ET LA MUSIQUE AU PRISME DES SOUND STUDIES
Centre de recherches sur les arts et le langage – CRAL
- Jeudi 24 janvier 2019 – 14:00 – Samedi 26 janvier 2019 – 18:00
- 24 & 25 janvier 2019 : Columbia Global Centers / Paris – Reid Hall, 4 Rue de Chevreuse, 75006 Paris
- 26 janvier 2019 : EHESS – Amphithéâtre François Furet, 105 boulevard Raspail, 75006 Paris
From January 24 to 26, 2019, researchers from various backgrounds will gather in Paris for the international conference “Sound and Music from the Prism of Sound Studies”. Based on the abundance of current research in musicology, aesthetics, anthropology, sociology, history, archaeology, or geography, it will be necessary to take the measure of the profound questioning of the categories of sound, noise and music that is underway, and to question the theoretical and disciplinary consequences. This will be the second stage of a collaboration between CRAL (EHESS/CNRS) and CNSMDP (Paris) within PSL University and Columbia University (New York).
more information: https://www.ehess.fr/fr/conf%C3%A9rence/et-musique-prisme-sound-studies
ARS Participation – Friday 25 January 2019
- 10:30 – 11:00 Dr. Julia H. Schröder – Johannes Gutenberg-Universität Mainz – Sounds for the Theatre Stage: A Cultural Practice in Competition to Music?
- 11:00 – 11:30 Prof. Peter Kiefer – Johannes Gutenberg-Universität Mainz Art – Research – Sound – an (im)possible amalgam
During the entire conference from Tuesday 21 until 26 January – 2019
The sound installation looking at gravel will be exhibited in the foyer of EHESS.
Global Composition Presentation
Prof. Peter Kiefer will give an presentation about A.R.S. at the Conference Global Composition in Germany, Darmstadt, Dieburg. October 4th – 7th 2018.
Dr. Golan Gur will give a lecture at the Conference Global Composition: “Hearing Plants, Reasoning Nature: Art and Science as Media of Knowledge”.
And the sound installation looking at gravel will be exhibited.
Looking at gravel
In November 2017, fifteen scientists of different fields working at a German university were asked to go into an unfamiliar situation and spontaneously comment on what they see. The place was at the balcony of the wellness area of a hotel, which is situated in between historic walls – the scientists were asked to look at the gravel and comment on it from the background of their scientific expertise. Each individual statement gives an authentic view on reality, and although all of the statements are true in themselves they differ from each other. The situation in itself is simple, nevertheless different views on reality result from it. The sound composition interweaves the voices in chains of associations and allows the observer an approach to these views and to feel invited to an individual view on reality, too.
Looking at Gravel is constructed as a balcony made of wood watching over a gravel, the work invites guests to listen to a sound composition consisting of an arrangement of voices and statement by 15 scientists representing a variety of disciplines, encompasses medieval history, media studies, neurology, theology, mathematics, economics, physics, archaeology, biology, linguistics, philology, Egyptology, paleontology, sociology, and German literature. Suggestive of dynamic and heterogeneous complexes, the colors and shapes of the gravel, gave rise to a variety of reactions on the part of the participants. Taken together, the statements of the scientists exemplified the extent to which the perception of reality can be shaped by one‘s background and professional interests.
While listening to the sound composition via headphone, the visitor looks at the original gravel to which the scientist were exposed. Looking at Gravel joins the discussion of how reality is constructed by means of an artistic exploration of the relation between perception and knowledge.