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Mario Asef

The Acousmatic Lectures have roots in discursive practices and propose a listening experience based on the Pythagorean acousmatic model: a mode of presentation in which the speaker is hidden from the public. Acousmatic Lectures encourage both orator and listener to focus exclusively on the acoustic space that provides a frame for the spoken word, its temperament and tone, without the addition of visual information or the speaker’s body language. For this series of lectures, all visual clues generated by the speaker’s facial and bodily expressions (which normally influence how information is received) remain hidden. Nevertheless, the speaker’s voice and its dissemination in the surrounding environment still convey the speaker’s physical presence. This approach underscores the dialectical conflict between abstract and sensorial information, confronting us with an array of decisions specific to the act of listening itself.

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Die Acousmatic Lectures sind eine Reihe von diskursiven akustischen Erlebnissen, die das pythagoreische akusmatische Modell als Ausgangspunkt verwenden, um eine neue Weise der Interaktion zwischen Redner und Zuhörer zu konstituieren. Dem Informationsaustausch zwischen Redner und Publikum und deren Umgebung werden alle Arten von visueller Unterstützung verweigert; die Situation wird nur akustisch geleitet – durch Sprechen und Zuhören. In den Acousmatic Lectures werden keine Mikrofone und/oder Verstärker verwendet. Auf diese Weise soll die physische Präsenz des Sprechers durch die natürliche Lautstärke seiner Stimme und ihres Klanges besser zum Ausdruck kommen. Hier wird die Stimme als ein vielseitig definierbarer akustischer Raum verstanden, in dem physikalische und affektive Kommunikationsgewohnheiten transformiert werden können. Dabei wird die dialektische Auseinandersetzung mit abstrakten sprachlichen Informationen und sensorischen akustischen Informationen der Stimme unterstrichen und man wird mit einer breite Palette von Entscheidungen konfrontiert: der des Zuhörens.

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Prof. Dr. Birgit Schneider

Forms of an Ecological Aesthetics of Climate and Climate Change

The climate is invisible because of its scientific definition as long-term weather statistics. Starting from this postulated an-aesthetic of weather, the lecture will outline the visualization strategies that made perception of the climate possible via early forms of data visualization. In early climate research these perceptions were tied not only to the dispositifs of instrument-based measurements but also of organic sensing that is inseparable to climate perception. Historical examples will be contrasted with today’s visualizations of anthropogenic climate change, which integrate the human factor into the ecology of the climate.

Birgit Schneider studied aesthetics, media theory, and media art at the Karlsruhe University of Art and Design, Goldsmiths College London, and Humboldt University in Berlin. Since 2009, she is researching climatic imagery as a Dilthey Fellow at the European Media Studies program at the University of Potsdam. Her work focuses on the field of image, cultural, and media studies: graphic methods such as maps and diagrams, climatic data visualization, digital images; the theory and technological history of textiles and the punch card; camouflage—strategies of invisibility around 1900; TV history + interference and disruption; art and media history of sound & vision.

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Prof. Dr. Sabeth Buchmann

(Dis) articulation—Voice as Place and Medium of Transformation

In contemporary art there are a number of expressive forms that question the representability of individual and collective trauma, and, in connection to this, the voice is performed as a literal and metaphorical medium: be it in the form of auditions or therapeutic language training. To the extent the possibilities and limitations of articulation then serve as the subject of the representation, the voice proves to be at the same time a psycho-emotional, socio-cultural, and societal-political topos. Referencing Paul B. Preciado’s essay “Junkie. Sex, Drugs, and Biopolitics in the Era of Pharmapornography” (2008), the lecture will examine select films and film installations by artists Ana Hoffner and Katarina Zdjelar in an effort to elevate the voice as the medium and location of (self-) transformation.

Sabeth Buchmann is an art historian and critic. She publishes regularly in the journal Texte zur Kunst and others. Since 1997, she has lectured and worked as an assistant, visiting, and interim professor at various academies and universities. Since 2004, she is professor of modern and postmodern art history at the Academy of Fine Arts Vienna.

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Marcus Gammel

Two sides of a curtain
Essay on acousmatics

A curtain splits the room in two. You can speak and listen on both sides. However, both sides are not the same. One knows more than the other. But which?
A lecture with examples from Pierre Schaeffer to Alessandro Bosetti.

 

 

Marcus Gammel, born in Bremen in 1975, studied musicology, literature and philosophy in Berlin, Paris and New York. Works as radio producer, dramatruge and music journalist. Since 2009, he directs the sound art programme of Deutschlandradio Kultur. Prix Phonurgia Nova 2005 for “Europas Wahn” (with Viktoria Tkaczyk).

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Sven Spieker

Memory at the Time of the Anthropocene:
Notes on the Post-Archive

The lecture concerns new perspectives on the archive before the background of an evolving understanding of memory and remembering. I focus on the question as to whether we can think the archive as anything other than a storage facility.

 

 

Sven Spieker teaches in the Comparative Literature Program at the University of California, Santa Barbara. He specializes in modern and contemporary art and literature, with an emphasis on Russia and East-Central Europe, and a special interest in issues related to documentary and knowledge production in art. Spieker has lectured and published on topics ranging from the historical avant-garde (Malevich, Rodchenko, Dziga Vertov) to late 20th-century art practice from Wolfgang Kippenberger to subREAL. His books and articles have appeared in German, Korean, Russian, Swedish, Polish, and English. Spieker has organized several international conferences (most recently: The Office in the Studio: The Administration of Modernism at the University of Jena, Germany). Spieker‘s latest book publication focused on the archive as a crucible of European modernism (The Big Archive, MIT Press, 2008; Korean translation 2014). Spieker is the founding editor of ARTMargins Print and a member of the editorial collective that runs ARTMargins Online.

Current projects include a Critical Anthology of Conceptual Art in Eastern Europe; a study of Didactic Art, as well as a book about Kazimir Malevich in the media age.

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Federico Geller

The Living Matter of History

We are the living matter of history, traveling trough different scales of reality. Our materiality, our own bodies, far away from the dominant cybernetic representations of macromolecular machines, from the genetic programming of psychological and social levels, are open to new possibilities, with multiple spaces for chaos and the creation of order. We will take a look at the role of chance in our ontogeny, which makes that for the same initial situation more than one phenotipic output is possible: that is developmental noise, a dimension of phenomena that helps us to understand that the differences between organisms can not only be explained only in terms of genetic and environmental variations. Being conscious of the multiple interactions between macro and micro levels, our subjectivities may change and help us to think, move, and experience our bodies differently, to create a more hopeful relationship with nature.

 

 

Federico Geller studied and taught Biologic Sciences at the University of Buenos Aires. He is a member of “Abriendo Caminos/La comunitaria TV”, a collective which endeavours to create communication tools (video, interventions, graphic material) for grass-roots political work and cojuncture situations. He also works in “Jeta Ka’i”, a team that aims to popularise biological knowledge and to discuss its technological applications and social consequences. Some of his designs and drawings have been shown in ExArgentina/La Normalidad (Berlin-Köln, Buenos Aires 2003-2006), The Future of Reciprocal Readymade (New York 2005), Kollektive Kreativität (Kassel 2005), Pay Attention to Ham (Köln 2008), Que Viva la Diversidad (Santa Fe, 2010),Truth Is Concrete/Steirischer Herbst (Graz 2012). Geller lives in Buenos Aires and Berlin.

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