![\"Sounds](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_209.jpg\" "\\"Sounds")
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Sounds of Absence | Various artists<\/strong> <\/p>\n Sounds of Absence collects artistic positions on the notion of absence, shaped by two years of pandemic lockdowns. The compilation is a cooperation project with the research group ARS \u2013 art research sound \u2013 at the Hochschule f\u00fcr Musik Mainz, led by Peter Kiefer, and curated by Wingel Mendoza and Joshua Weitzel. <\/p>\n In the second lockdown, as the regulations became increasingly complex, this idea developed into the compilation project. Instead of purely documenting the absence, artists from all over the world were approached and asked to contribute a piece that in some way deals with the absence and the conditions of the past two years. <\/p>\n <\/p>\n Tracklist:<\/p>\n <\/p>\n 01 – Patrick Hartono: Lockdown (binaural for headphone) <\/p>\n 17 Tracks (71\u203242\u2033) <\/p>\n <\/p>\n What is the sound of absence? \u2026<\/strong> <\/p>\n As the second lockdown phase hit, this idea developed into exceeding pure documentation, into the idea to ask artists from all over the world for contributions that artistically employ the idea of absence and the lockdown conditions. We are happy to have gathered a diverse array of artistic engagements on the subject from all over the world. Field recording is used in many of the pieces, such as in Lasse- Marc Riek\u2019s total silence recording of Hanau under curfew condition, or Roland Etzin\u2019s electro-magnetic explorations of Frankfurt\u2019s storefront windows that are still very much active despite closed stores, or in Danbi Jeung\u2019s atmospheres of Frankfurt Airport, or KMRU\u2019s Window Stills.<\/p>\n <\/p>\n Other tracks follow entirely different concepts of absence: In Viola Yip\u2019s Silent Train we are confronted complex audio feedback reminiscent of a spooky empty train carriage. Juan Berm\u00fadez instead uses empty recording devices for crisp recordings of actual emptiness. Cecilia Arditto uses utensils from her house for her composition. The retreat into the domestic refuge is present also in Alvin Curran\u2019s Containment Etude 0.1 which is part of six hours of recorded material that Curran made during lockdown in Berkeley, California using a collection of samples. In Emmanuelle Waeckerl\u00e9\u2019s composition, recordings from her home in London and one from stay-over trips to Saltdean are used, bringing the wind and her voice together in reference to Timothy Morton\u2019s Hyperobjects. Wingel Mendoza also addresses the voice in isolation, rendered unintelligible and drowned in electronic sounds. Electronic sounds are also the most prominent presence in the binaural piece of Patrick Hartono, which creates an intense acoustic impression of a lockdown.<\/p>\n <\/p>\n In other cases, field recordings are treated differently, such as in Nicola L. Hein\u2019s AI-based processing of recordings of fireworks during the BLM-Protests in New York, field recordings of Kobe along with a gentle synthesizer in Haco\u2019s Sho-Fuku-Hill, or the merging of various recordings in the collaborative work of Jim Igor Kallenberg, Joshua Weitzel, and Michael Zwenzner, who blended recordings of a glitch in a sound-studies online conference with processed recordings from Wilhemsh\u00f6he Park in Kassel and a private home in Munich. Raphael Kariuki explores with his recordings a neighbourhood in Nairobi and walks along the sounds of illegal easter worship gatherings leaking out of houses and churches. Stefan g. Fricke, on the other hand, blends voice samples of Theodor Adorno together with the atmosphere recorded in front of Adorno\u2019s grave in Frankfurt, resulting in the words forming a sentence from Erich K\u00e4stner\u2019s poem \u2018Meyer IX. im Schnee\u2019. Dominykas Digimas\u2019 work was based on the coincidence of the rare occasion of the river Neris in Vilnius being completely frozen while lockdown was keeping people in their homes. He used various techniques to record the river.<\/p>\n <\/p>\n All the perspectives collected in this compilation are individual and mirror the different situations in the different countries. The situation in Bogota, Frankfurt, Kobe, New York, London, Nairobi and Vilnius were all different, as are the fates by those affected by the pandemic. But this pandemic is also something we all experience and in our different experiences we are united. <\/p>\n <\/p>\n Mastered by Moritz Reinisch, Mainz Music School. <\/p>\n Sound Art Series by Gruenrekorder <\/p>\n <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Aurelio Cianciotta | Neural<\/a><\/strong> <\/p>\n Musik aus meinem Postfach<\/a> | radiohoerer<\/a><\/strong> <\/p>\n Was ist der Klang der Abwesenheit? \u2026 <\/p>\n Als die zweite Lockdown-Phase eintrat, entwickelte sich diese Idee zu einer \u00fcber die reine Dokumentation hinausgehenden Idee, K\u00fcnstler aus der ganzen Welt um Beitr\u00e4ge zu bitten, die sich k\u00fcnstlerisch mit der Idee der Abwesenheit und den Lockdown-Bedingungen auseinandersetzen. Wir freuen uns, dass wir eine Vielzahl von k\u00fcnstlerischen Beitr\u00e4gen aus der ganzen Welt zu diesem Thema zusammengetragen haben: Feldaufnahmen kommen in vielen der Arbeiten zum Einsatz, etwa in Lasse-Marc Rieks Aufnahmen von Hanau unter Ausgangssperre oder Roland Etzins elektromagnetischen Erkundungen von Frankfurter Schaufenstern, die trotz geschlossener L\u00e4den immer noch sehr aktiv sind, oder in Danbi Jeungs Atmosph\u00e4ren des Frankfurter Flughafens oder in KMRUs Window Stills.<\/p>\n <\/p>\n Andere St\u00fccke folgen ganz anderen Konzepten der Abwesenheit: In Silent Train von Viola Yip werden wir mit komplexen Audio-R\u00fcckkopplungen konfrontiert, die an einen gespenstisch leeren Zugwaggon erinnern. Juan Berm\u00fadez verwendet stattdessen leere Aufnahmeger\u00e4te f\u00fcr pr\u00e4zise Aufnahmen der tats\u00e4chlichen Leere. Cecilia Arditto verwendet f\u00fcr ihre Komposition Utensilien aus ihrem Haus. Der R\u00fcckzug ins h\u00e4usliche Refugium ist auch in Alvin Currans Containment Etude 0.1 pr\u00e4sent. Was ein Teil aus sechs Stunden aufgezeichnetem Material ist, das Curran w\u00e4hrend eines Einschlusses in Berkeley, Kalifornien, unter Verwendung seiner Sammlung von Samples neu aufgenommen hat. In der Komposition von Emmanuelle Waeckerl\u00e9 werden Aufnahmen aus ihrem Haus in London und eine von einem Aufenthalt in Saltdean verwendet, die den Wind und ihre Stimme in Anlehnung an Timothy Mortons Hyperobjects zusammenbringen. Wingel Mendoza thematisiert ebenfalls die Stimme in ihrer Isolation, die unverst\u00e4ndlich gemacht und von elektronischen Kl\u00e4ngen \u00fcbert\u00f6nt wird. Elektronische Kl\u00e4nge stehen auch im Mittelpunkt des binauralen St\u00fccks von Patrick Hartono, das den intensiven akustischen Eindruck einer Abriegelung vermittelt.<\/p>\n <\/p>\n In anderen F\u00e4llen wurden Feldaufnahmen auf unterschiedliche Weise behandelt, wie in Nicola L. Heins KI-basierter Verarbeitung von Aufnahmen von Feuerwerksk\u00f6rpern w\u00e4hrend der BLM-Proteste in New York, Feldaufnahmen von Kobe zusammen mit einem sanften Synthesizer in Hacos Sho-Fuku-Hill oder die Verschmelzung verschiedener Aufnahmen in der Gemeinschaftsarbeit von Jim Igor Kallenberg, Joshua Weitzel und Michael Zwenzner, die aus Aufnahmen einer St\u00f6rung in einer Online-Konferenz f\u00fcr Klangstudien mit verarbeiteten Aufnahmen aus dem Park Wilhemsh\u00f6he in Kassel und einem Privathaus in M\u00fcnchen vermischten. Raphael Kariuki erkundet mit seinen Aufnahmen ein Viertel in Nairobi und spaziert entlang der Kl\u00e4nge von illegalen Ostergottesdiensten, die aus H\u00e4usern und Kirchen dringen. Stefan g. Fricke wiederum mischt Stimmsamples von Theodor Adorno mit der vor Adornos Grab in Frankfurt aufgenommenen Atmosph\u00e4re und formt daraus einen Satz aus Erich K\u00e4stners Gedicht \u201eMeyer IX. im Schnee\u201c. Dominykas Digimas\u2018 Arbeit basiert auf dem seltenen Ereignis, dass der Fluss Neris in Vilnius komplett zugefroren war, w\u00e4hrend die Menschen in ihren H\u00e4usern eingeschlossen waren. Er verwendete verschiedene Techniken, um den Fluss aufzunehmen.<\/p>\n <\/p>\n Alle in dieser Zusammenstellung versammelten Beitr\u00e4ge sind individuell und spiegeln die unterschiedlichen Situationen in den verschiedenen L\u00e4ndern wider. Die Situation in Bogota, Frankfurt, Kobe, New York, London, Nairobi und Vilnius war unterschiedlich, ebenso wie die Schicksale der von der Pandemie Betroffenen. Aber diese Pandemie ist auch etwas, das wir alle erleben, und in unseren unterschiedlichen Erlebnissen sind wir alle verbunden. \u00a9 Alle Texte: Gruenrekorder<\/p>\n <\/p>\n Dass diese Musik, bisher, noch nicht im deutschen Rundfunk gesendet wurde, ist ein Dilemma. Wahrscheinlich sollte ich einen Podcast mit solcher Musik beginnen. Aber das brauche ich nicht, denn es gibt ja \u201eLate Junction\u201c von der BBC, wo allerlei Musik gespielt wird, die es in deutschen Redaktionen noch nicht einmal aufs Papier schafft \ud83d\ude09 <\/p>\n Wie ihr sicherlich wisst, ist dies nicht die erste und bestimmt nicht die letzte Compilation, zum Thema Pandemie und Lockdown. Das besondere an dieser Compilation ist ihre Bandbreite, die Gegens\u00e4tzlichkeit ihrer Entw\u00fcrfe. Kurz, ihr kompromissloser Ansatz. Und hier bleibt sich das Label Gruenrekorder treu.<\/p>\n <\/p>\n So kann ich euch diese Compilation nur w\u00e4rmstens ans Herz\/Ohr legen. <\/p>\n textura<\/a><\/strong> <\/p>\n The diversity of responses from the sound artists reflects the range and complexity of experiences individuals living throughout the world grappled with during the pandemic. Yet despite such differences, there’s no denying we were united in dealing with a phenomenon that held people everywhere in its grip. In similar manner, while the seventeen pieces are wide-ranging in sound design and concept, an interpretation of the theme of absence is common to all. In some cases, silence dominates; others are far noisier, as if the sounds of particular physical locales have been magnified to create engulfing environments. The electro-acoustic micro-sounds streaming through Patrick Hartono’s opening \u201cLockdown (binaural for headphone),\u201d for example, resonate with such dynamic intensity, the material starts to seem claustrophobic and even nightmarish. Processed recordings of fireworks set off during BLM protests ripple through Nicola L. Hein’s \u201cNew York Oh My Mind\u201d alongside other noises, the collective soundscape effectively mirroring the incessant combustion generated by the city even at its quietest.<\/p>\n <\/p>\n Ghostly noises permeate Emmanuelle Waeckerl\u00e9’s \u201cWhat is left if we aren’t the world,\u201d with faint wind sounds and the rustlings of nature occupying spaces normally shared with humanity. Absence is pushed to its greatest extreme in Lasse-Marc Riek’s \u201cAusgangssperre, 01.01.2021_21Uhr 05, Steinheim, Hanau,\u201d which might be even more \u201csilent\u201d than Cage’s 4’33\u201d; far noisier is Roland Etzin’s static-smeared \u201cElectromagnetic Fields MTZ,\u201d sculpted from field recordings of Frankfurt storefront windows, and the cheekily titled \u201cI am sitting in a z[u]m\u201d by Weitzel, Jim Igor Kallenberg, and Michael Zwenzner, which fashions a convulsive collage from a glitch-saddled online conference.<\/p>\n <\/p>\n Places as contrasting as airports (Danbi Jeung’s \u201cOpacity Crowd,\u201d which incorporates intercom announcements and other site-specific details from Frankfurt Airport), trains (Viola Yip’s clangorous \u201cSilent Train\u201d), and homes (Cecilia Arditto’s \u201cAnatomy of a Jar,\u201d assembled from utensils-sourced sounds) are plundered for source material. Field recordings of outdoor settings are also extrapolated from, as in Haco’s \u201cSho-Fuku Hill\u201d and Raphael Kariuki’s \u201cDefiance,\u201d with a walking tour in the latter capturing the sounds of illegal Easter worship gatherings in a Nairobi neighbourhood. Whereas some settings hint at the psychic stress the pandemic wrought, Dominykas Digimas’s \u201cFlow Song\u201d is striking for the peaceful mood its lulling sounds of the Neris river in Vilnius engenders. The compilation is at its most imaginative in Stefan g. Fricke’s\u201cK119,\u201d which stitches together voice samples of Theodor Adorno with field recording sounds collected at his Frankfurt grave. Each piece in its own way reinforces the idea intimated by 4’33\u201d that silence is an illusion, even if Riek’s contribution comes close to suggesting it isn’t. Even the absence of human beings can’t mute the vibrantly alive locations captured in the seventeen settings. <\/p>\n field notes Magazin<\/a><\/strong> <\/p>\n Richard Allen | a closer listen<\/a><\/strong> <\/p>\n Patrick Hartono\u2018s opening piece is a bustle of electronics, neither focused nor scattered, but somewhere in-between, a collision of conflicting feelings as well as a (possibly unintentional) reflection of the elevated role of electronic devices during lockdown. Nicola L. Hein\u2018s \u201cNew York On My Mind\u201d is even more agitated, manipulating the sound of fireworks during Black Lives Matter protests, a reminder that other events unfolded during the pandemic in addition to the pandemic. The last two years have not been kind.<\/p>\n <\/p>\n Few people populate Danbi Jeung\u2018s cleverly-titled \u201cOpacity Crowd,\u201d recorded at the Frankfurt Airport, which ends with a bored announcer repeating mask and social distancing regulations. Even this is not as quiet as Lasse-Marc Riek\u2018s recording of total silence, which comes across as more silent than 4\u201933\u201d. Those playing the disc can be forgiven for thinking it has ended; for a time being, many things ended, or at least were put on pause. One such practice is captured by Raphael Kariuki, whose walk in Nairobi on Easter morning reveals secret, illegal services. One hopes the local officials never match keyboard and vocal tones, although it would surprise us if Kenyan officials were field recording fans. In similar fashion.<\/p>\n <\/p>\n Juan Berm\u00fadez records emptiness, a sibling of silence, packed with resonance that may convey emotional meaning despite its impassive, impersonal nature. Amplified emptiness is what many felt during the pandemic, unable to put a name to the condition. When Wingel Mendoza buries words in sound, the effect is incomprehensibility: voices and ears straining toward each other, unable to close the gap. Stefan g. Fricke stands in front of a philosopher\u2019s grave, adding vocal fragments until they form a poem: something out of nothing, present out of past, intimating that art is often born from suffering, and global trauma may yet produce an outpouring of creativity not seen or heard in ages. One can only hope. (Richard Allen) <\/p>\n Rigobert Dittmann | Bad Alchemy Magazin<\/a> (115)<\/strong> <\/p>\n Gruenrekorder @ Bepi Crespan<\/a><\/strong> Sounds of Absence | Various artists Gruen 209 | Audio CD (+ Digital) | Digital > [order] Reviews Sounds of Absence collects artistic positions on the notion of absence, shaped by two years of pandemic lockdowns. The compilation is a cooperation project with the research group ARS \u2013 art research sound \u2013 at […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-19964","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/19964","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=19964"}],"version-history":[{"count":45,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/19964\/revisions"}],"predecessor-version":[{"id":21967,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/19964\/revisions\/21967"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=19964"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGruen 209 | Audio CD (+ Digital) | Digital > [order<\/a>]
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n
\nIn 2020, ARS initiated a website to collect sounds of public spaces during lockdown conditions, in order to capture the sound of this unique absence of everyday buzz.<\/p>\n
\nSounds of Absence hence brings together artistic positions from all continents and encompasses a wide variety of artistic approaches towards field recording and electro-acoustic composition.<\/p>\n
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\n02 – Emmanuelle Waeckerl\u00e9: What is left if we aren\u2019t the world
\n03 – Nicola L. Hein: New York Oh My Mind
\n04 – Danbi Jeung: Opacity Crowd
\n05 – Viola Yip: Silent Train | MP3<\/a>
\n06 – Haco: Sho-Fuku Hill | MP3<\/a>
\n07 – Lasse-Marc Riek: Ausgangssperre_01_01_2021_21Uhr_05_Steinheim_Hanau
\n08 – Cecilia Arditto: Anatomy of a Jar
\n09 – Juan David Berm\u00fadez: Inner Voices (all we have left is noise) | MP3<\/a>
\n10 – Raphael Kariuki: Defiance | MP3<\/a>
\n11 – Dominykas Digimas: Flow Song
\n12 – Jim Igor Kallenberg\/Joshua Weitzel\/Michael Zwenzner: I am sitting in a z[u]m
\n13 – Wingel Mendoza: La distancia aclara una voz
\n14 – KMRU: Window Stills
\n15 – Roland Etzin: Electromagnetic Fields MTZ
\n16 – stefan g. fricke: K119
\n17 – Alvin Curran: Containment Etude 0.1<\/p>\n
\nCD (500 copies)<\/p>\n
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\n\u2026 was the question that Peter Kiefer, head of the group ARS: art-research-sound at the Mainz Music School asked when the first lockdown of the Covid-19-pandemic came into place. Subsequently, he initiated a platform for collecting field recordings from all over the world of landmark public spaces under lockdown conditions.<\/p>\n
\nJoshua Weitzel, January 2022.<\/p>\n
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\nCover Photography by Wingel Mendoza.
\nDesign by Joshua Weitzel.<\/p>\n
\nGermany \/ 2022 \/ Gruen 209 \/ LC 09488 \/ GEMA \/ EAN 196626280428<\/p>\n
\n![\"Sounds](\"https:\/\/www.gruenrekorder.de\/Photos\/logo_01_128px.jpg\" "\\"Sounds"){kind=logo}
![\"Sounds](\"https:\/\/www.gruenrekorder.de\/Photos\/logo_02_128px.jpg\" "\\"Sounds"){kind=logo}
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\nDespite the many negative impacts of the Covid-19 lockdowns, there were plenty of artistic and musical initiatives that drew conceptual inspiration from such an unusual and challenging time. One such project is Sounds of Absence by Peter Kiefer, head of the Art-Research-Sound project at the Mainz School of Music. For this project, Kiefer invited artists to submit field recordings made during the lockdown period, as well as compositions that expressed their experiences and impressions during this difficult period. Many hours of recordings were compiled \u2013 sound documents that offered a nuanced insight into the reality of the situation along with codified information on different environments, be they urban or natural. Only later, when the regulations became increasingly complex during the second lockdown, did the project transform into a work that brought together artists from various geographical areas to focus specifically on the theme of absence in those two very particular years. Compositions were collected from all over the world, encompassing a wide variety of approaches to audio capturing and electroacoustic composition. Theorizing an aesthetics of absence is certainly not a new concept, especially in music. This has recently been highlighted in relation to Glenn Gould, but there are an infinite number of examples starting with 4\u201933\u201d by John Cage, or in the visual arts with Lucio Fontana, Edward Hopper and others, not to mention how it has been expressed in contemporary architecture. To be even more radical, one could say that the history of modern art is pervaded by the theme of absence if, as Deleuze and Guattari observed, it is a series of indefinable ephemeral sensations that compels us to look to other objects and memories. Absence is then an empty form that contains an induced and never satisfied desire, it works on unconscious and symbolic mechanisms, for which nothing can be certain. Alvin Curran, Lasse-Marc Riek, Juan Berm\u00fadez, Wingel Mendoza and Stefan G. Fricke, to name just a few of the artists who participated in the project, have focused precisely on these mechanisms. It is the complexity and diversity of their contributions that make this collection truly special \u2013 a document of a dark time, but a time that was never without hope.
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\n\u201eSounds of Absence\u201c (Kl\u00e4nge der Abwesenheit) versammelt k\u00fcnstlerische Beitr\u00e4ge zum Begriff der Abwesenheit, aus zwei Jahren pandemischer Lockdowns. Diese Kompilation ist ein Kooperationsprojekt mit der Forschungsgruppe ARS \u2013 art research sound \u2013 an der Hochschule f\u00fcr Musik Mainz, geleitet von Peter Kiefer, und kuratiert von Wingel Mendoza und Joshua Weitzel.<\/p>\n
\n\u2026 war die Frage, die Peter Kiefer, Leiter der Gruppe ARS: art-research-sound an der Musikschule Mainz, stellte, als der erste Lockdown der Covid-19-Pandemie eintrat. Daraufhin initiierte er eine Plattform zum Sammeln von Feldaufnahmen aus der ganzen Welt, Kl\u00e4nge aus \u00f6ffentlichen R\u00e4umen unter Lockdown-Bedingungen zu sammeln.<\/p>\n
\nDort habe ich auch die Musik von Michael Lightborne geh\u00f6rt, der mich dann zu Gruenrekorder f\u00fchrte. Dann fiel mir ein, dass ich noch was von Gruenrekorder auf der Festplatte hatte und so bin ich auf diese Compilation gestossen.<\/p>\n
\nAm meisten beeindrucken mich Feldaufnahmen unter Kopfh\u00f6rern und das ist wirklich faszinierend!
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\nWith so many public spaces left uninhabited by a human presence during two years of pandemic lockdowns, it makes perfect sense that Gruenrekorder, the Germany-based sound art label known for its many field recordings-oriented releases, would issue a collection exploring the concept of absence and specifically what it sounds like. That’s the question Peter Kiefer, head of the research group ARS (art research sound) at the Mainz Music School, first put to himself and then to others in order to ascertain their responses to the state-of-things. The website ARS created to collect those responses eventually, with curation handled by Wingel Mendoza and Joshua Weitzel, developed into the seventy-two-minute compilation volume fittingly titled Sounds of Absence (available in digital and CD formats).<\/p>\n
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\nReleases des Monats Juli
\nJedes St\u00fcck Musik hat nicht nur eine Geschichte, sondern erz\u00e4hlt auch etwas \u00fcber Geschichte beziehungsweise reflektiert im Kleinen die gr\u00f6\u00dferen historischen Zusammenh\u00e4nge, in denen es entstand. So zum Beispiel die Compilation \u00bb
\n\u00ab auf dem Field-Recordings- und Klangkunst-Label Gr\u00fcnrekorder. \u00dcber 17 St\u00fccke hinweg befassen sich darauf so unterschiedliche K\u00fcnstler*innen wie Alvin Curran, Haco oder Viola Yip mit der Frage, wie der gesellschaftliche Stillstand w\u00e4hrend einzelner Lockdowns und die damit einhergehende soziale Isolation sich auf \u00e4sthetischer Ebene \u00e4u\u00dferten. Das Ergebnis ist so heterogen wie die konzeptionellen Ans\u00e4tze der Beteiligten, die Compilation als solche aber ein wichtiges historisches Dokument. […<\/a>]
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\nIn the coming years, sonologists will continue to be grateful for the work of field recording artists during the pandemic. Guided by curiosity, working for the most part without pay, such artists captured aural time capsules: innumerable hours of raw material in which is encoded vital information about our species and its relationship to the biosphere. On Sounds of Absence, Peter Kiefer, head of Art-Research-Sound at the Mainz Music School, invited artists to submit recordings captured during lockdown, as well as compositions that express their impressions of the period. The result is a potpourri, from empty to packed, immobile to overworked, with an undercurrent of melancholy.<\/p>\n
\nlink<\/a><\/p>\n
\nV\/A Sounds of absence (Gruenrekorder, Gruen 209): Was da erklingt, ist Ausfluss des Projekts ARS Art \u2013 Research \u2013 Sound, \u00fcber dem Professor Peter Kiefer waltet als Leiter des Studiengangs Klangkunst-Komposition an der HfM Mainz. Kuratorisch t\u00e4tig waren allerdings Wingel Mendoza als einer, der dem Gott des Windes und der Gelehrsamkeit lauscht und bei „F\u00fcnf W\u00f6rter aus dem Main“ H\u00f6lderlin und Hindemith. Und mit dem Kasseler Klangk\u00fcnstler Joshua Weitzel ein zweiter, dem man ebenfalls auf hr2-kultur begegnet, wenn Stefan Fricke in der Reihe ‚The Artist’s Corner‘ Ars Acustica moderiert. Sie alle drei liefern auch Antworten auf Kiefers Frage, wie sich Lockdowns und Ausgangssperren akustisch auswirken. 14 weitere R\u00fcckmeldungen kamen aus dem totenstillen Hanau (Lasse-Marc Riek), aus Frankfurt (Roland Etzin, Danbi Jeung), London (Emmanuelle Waeckerl\u00e9), Kobe (Haco), Nairobi (Raphael Kariuki), Berkeley (Alvin Curran) oder dem eisigen Vilnius (Dominykas Digimas). Meist mit Fieldrecordings von Wind, von fahrenden Z\u00fcgen, daneben auch mit Samples, Feedback, Synthie oder Electronics, die ein Fehlen suggerieren oder konterkarieren. Oder die eigene Stimme, die, statt Einspruch gegen das Verstummen zu erheben, bei Waeckerl\u00e9 das eigene \u00dcberfl\u00fcssigsein absegnet und bei Cecilia Ardittonoch bedenklichere Symptome zeigt. Patrick Hartono schiebt und schockt perkussiven, dr\u00f6hnenden L\u00e4rm quer durchs Hirn. Nicola L. Hein zerfurzelt und verzwitschert Black-Lives-Matter-Protestl\u00e4rm in New York. Viola Yip l\u00e4sst einen leeren Zug spuken. Kariuki h\u00f6rt bei einem Spaziergang die eigenen Schritte, evangelikale Prediger und V\u00f6gel, KMRU h\u00f6rt bei offenem Fenster Spatzen und Tauben zu. Bei Digimas klackt, zischt, pfeift, gluckst die zugefrorene Neris. Weitzel & Friends verhackst\u00fccken Gel\u00e4chter und Kollaboration mit verschnarchter Stille und einer Aasfliege. Mendoza l\u00e4sst es zu rhythmischem Gezuckel und einer Lautsprecherdurchsage elegisch dr\u00f6hnen, Etzin die Schaufenster geschlossener L\u00e4den elektromagnetisch beben. Fricke f\u00fchrt an Adornos bezwitschertes Grab und zitiert mit M\u00fch‘ Erich K\u00e4stners Es ist so furchtbar still. Mir fehlt der Krach. Curran haut daher einen schnatternden Auktionator, eine kieksende Sopranistin und ein Saxofon in die Pfanne. [BA 115 rbd]
\nlink<\/a><\/p>\n
\nCITR\u2019s 24 HOURS OF RADIO ART in a snack size format!
\nSounds of Absence<\/a> | Various artists<\/p>\n","protected":false},"excerpt":{"rendered":"