Friday, November 30th, 2012, 19.00 (opening)
Gruenrekorder (D)
Far Out – Listening Room
The listening room will be presented during the entire festival
Works by Andreas Bick (D), Mark Lorenz Kysela (D), Danny Mc Carthy (IR) and
Craig Vear (GB)
Far Out
This year’s listening room features artists from the German label Gruenrekorder,
exclusively.
Four selected works show various cross references to the festival’s theme, Far Out: ‘Frost
Pattern’ by Andreas Bick is based on subaquatic recordings made at a research base
located just off the coast of Greenland. Mark Lorenz Kysela‘s soundscape composition
‘Höfn’ was made of audio recordings from the Icelandic village of the same name. ‘White
Star Line’ by Danny Mc Carthy is an acoustic portrait of the very pier which was the last
stop of the Titanic before continuing her fateful journey across the Atlantic Ocean. In
‚Antarctica’, Craig Vear presents un-treated field recordings from an extended visit in
2003-04.
Gruenrekorder
Gruenrekorder understands itself as an organisation with the aim of promoting
experimental music and phonography. Phonography considers nature / the environment as
an acoustic experience, loaden with musical sounds. It is as a form of art and culture, that
Gruenrekorder promotes phonography. We therefore organise events, lectures,
publications and exhibitions as well as artistic projects in the fields of phonography and
experimental music.
http://www.gruenrekorder.de
Andreas Bick | Frost Pattern
(..) The extremes of fire and ice have always been a popular metaphor for the opposites
of ardent passion and unfeeling frigidity, of flux and torpor – extremes which, for all our
polarizing way of perceiving them, are very similar. This is also true, especially so in fact,
in the acoustic field: in terms of their behaviour and dynamics, the sounds we associate
with fire and ice – as created by volcanoes, glaciers, embers, snowfall and many others –
seem to be related and are sometimes almost indistinguishable. The loudest natural
sounds on Earth are linked with volcanic eruptions and colliding icebergs. The sounds
involved range from the infrasound of volcanic tremors and the so-called “singing
icebergs” through to the near-inaudible high-frequency crackling and whistling of falling
snowflakes and glowing coals. (..) Nonetheless, a magical attraction is exerted on
humankind by these outer reaches of the world it inhabits, as shown by our unbroken
fascination with the polar regions and with volcanoes. (..) the field recordings of natural
phenomena were subjected to subtle modifications and sonic transformations, and woven
into an abstract sound structure that offers a sensory experience of the forces exerted by
fire and ice. (Andreas Bick)
Andreas Bick (born in 1964 in Marl, Germany) writes music for films and radio plays. Based
on a long-standing interest in rhythmic processes in nature and everyday life, he has also
made a series of sound compositions for various broadcasters. He has been awarded the
Prix Ars Acustica, the Karl Sczuka Prize, and the Phonurgia Nova Prize.
http://www.gruenrekorder.de/?page_id=2727
Mark Lorenz Kysela | Höfn
Harbour of Höfn, Iceland, June 2007, about Midnight
Steps on Gravel, Seabirds, Water, Pipeline and Pumping Station, Fish-Oil Producing Ship,
Workers and Seamens
Mark Lorenz Kysela born in 1971 in Stuttgart, Germany studied saxophone, chamber music
und contemporary music in Frankfurt/M with Achim Rinke and in Bordeaux with Marie-
Bernadette Charrier and Jean-Marie Londeix. He works as a saxophone player (as a soloist,
in chamber ensembles and orchestras). Tours and concerts in Europe, Australia and North-
America; former member of the "Ensemble Atmosphère"; saxophonist of the Ensemble „Oh
Ton“ and of the Ensemble "zZ". Collaborations with composers such as Michael Maierhof,
Alan Hilario, Robin Hoffmann, Christoph Ogiermann, Uwe Rasch, Christophe Havel,
François Rossé, Eckart Beinke, et al.
http://www.gruenrekorder.de/?page_id=7148
Danny Mc Carthy | White Star Line
The title “White Star Line” refers to the ship the Titanic and the company that ran the
line. The Titanic’s last port of call was Cobh, Co Cork Ireland and this recording was
created using field recordings made at, on and under (hydrophone) the actual pier that
the last boarding passengers crossed to board the boats that brought them out to the
Titanic. This year 2012 is the centenary of the sinking of the ship.
Danny Mc Carthy studied at the National College of Art and Design. He has pioneered both
performance art and sound art in Ireland and continues to be a leading exponent
exhibiting and performing both in Ireland and abroad. In early 2006 he founded The Quiet
Club (with Mick O Shea), a floating membership sound (art and electronics) performance
group. His work has appeared on numerous CDs and has been broadcast widely on both
radio and TV. He is a founding director of Triskel Arts Centre, Cork, and of the National
Sculpture Factory and is a director of Art Trail and the Sirius Arts Centre Cobh. Recent
exhibitions include the premiere of his piece 'waTEr' at the Bourges International Electro
Acoustic Music Festival, 'Sounding The Town' and 'Wa(l)king The Dream' in the Sirius Arts
Centre Cobh Ireland.
http://www.gruenrekorder.de/?page_id=7110
Craig Vear | Antarctica
In the winter (Austral summer) of 2003/4 I embarked on an ambitious musical project in
Antarctica, having been awarded a joint fellowship from Arts Council England and the
British Antarctic Survey’s Artists and Writers Programme. The purpose of my visit was to
compile a unique library of field recordings from the Antarctic and sub-Antarctic regions,
which would become the sound source for music composition. The focus of my many field
recordings was to capture and reflect the relationship between the British Antarctic
Survey (BAS) and the continent it embraces, and the life and populations of the area
surrounding the Weddell Sea. Under these headings, the natural sounds (wind, sea,
weather and wildlife), the human sounds (scientists living and working, boat captains,
‘talking heads’ interviews and conversation), the mechanical sounds (machinery,
generators, boats, scientific experiments, travel, entertainment), and the
phenomenological sounds (whistling rigging, clanking objects, crunching ice floes, musical
accidents) were of equal significance. I journeyed to far and desolate lands, recorded
colonies of penguins and seals, flew to isolated huts deep in the Antarctic Peninsula, and
smashed through pack ice aboard an ice strengthened ship. I experienced the euphoric
highs and the mind-crushing lows of solitude, the overwhelming presence of all who had
come and gone, together with the realization that I was, as a human and an artist, a mere
speck on this planet.
Vear works with found sounds, making compositions using computers that allow the
individual sounds to be free. His open works are inspired by John Cage, Gavin Bryars and
Christophe Charles and use chance elements within performance to determine the final
outcome of the composition.
http://www.gruenrekorder.de/?page_id=4733
ABOUT PROGRAMME SUAL AWARD PRESS IMPRINT SUAL HOME
shut up and listen! 2012
Interdisciplinary Festival for Music and Sound Art
exclusively.
Four selected works show various cross references to the festival’s theme, Far Out: ‘Frost
Pattern’ by Andreas Bick is based on subaquatic recordings made at a research base
located just off the coast of Greenland. Mark Lorenz Kysela‘s soundscape composition
‘Höfn’ was made of audio recordings from the Icelandic village of the same name. ‘White
Star Line’ by Danny Mc Carthy is an acoustic portrait of the very pier which was the last
stop of the Titanic before continuing her fateful journey across the Atlantic Ocean. In
‚Antarctica’, Craig Vear presents un-treated field recordings from an extended visit in
2003-04.
Gruenrekorder
Gruenrekorder understands itself as an organisation with the aim of promoting
experimental music and phonography. Phonography considers nature / the environment as
an acoustic experience, loaden with musical sounds. It is as a form of art and culture, that
Gruenrekorder promotes phonography. We therefore organise events, lectures,
publications and exhibitions as well as artistic projects in the fields of phonography and
experimental music.
http://www.gruenrekorder.de
Andreas Bick | Frost Pattern
(..) The extremes of fire and ice have always been a popular metaphor for the opposites
of ardent passion and unfeeling frigidity, of flux and torpor – extremes which, for all our
polarizing way of perceiving them, are very similar. This is also true, especially so in fact,
in the acoustic field: in terms of their behaviour and dynamics, the sounds we associate
with fire and ice – as created by volcanoes, glaciers, embers, snowfall and many others –
seem to be related and are sometimes almost indistinguishable. The loudest natural
sounds on Earth are linked with volcanic eruptions and colliding icebergs. The sounds
involved range from the infrasound of volcanic tremors and the so-called “singing
icebergs” through to the near-inaudible high-frequency crackling and whistling of falling
snowflakes and glowing coals. (..) Nonetheless, a magical attraction is exerted on
humankind by these outer reaches of the world it inhabits, as shown by our unbroken
fascination with the polar regions and with volcanoes. (..) the field recordings of natural
phenomena were subjected to subtle modifications and sonic transformations, and woven
into an abstract sound structure that offers a sensory experience of the forces exerted by
fire and ice. (Andreas Bick)
Andreas Bick (born in 1964 in Marl, Germany) writes music for films and radio plays. Based
on a long-standing interest in rhythmic processes in nature and everyday life, he has also
made a series of sound compositions for various broadcasters. He has been awarded the
Prix Ars Acustica, the Karl Sczuka Prize, and the Phonurgia Nova Prize.
http://www.gruenrekorder.de/?page_id=2727
Mark Lorenz Kysela | Höfn
Harbour of Höfn, Iceland, June 2007, about Midnight
Steps on Gravel, Seabirds, Water, Pipeline and Pumping Station, Fish-Oil Producing Ship,
Workers and Seamens
Mark Lorenz Kysela born in 1971 in Stuttgart, Germany studied saxophone, chamber music
und contemporary music in Frankfurt/M with Achim Rinke and in Bordeaux with Marie-
Bernadette Charrier and Jean-Marie Londeix. He works as a saxophone player (as a soloist,
in chamber ensembles and orchestras). Tours and concerts in Europe, Australia and North-
America; former member of the "Ensemble Atmosphère"; saxophonist of the Ensemble „Oh
Ton“ and of the Ensemble "zZ". Collaborations with composers such as Michael Maierhof,
Alan Hilario, Robin Hoffmann, Christoph Ogiermann, Uwe Rasch, Christophe Havel,
François Rossé, Eckart Beinke, et al.
http://www.gruenrekorder.de/?page_id=7148
Danny Mc Carthy | White Star Line
The title “White Star Line” refers to the ship the Titanic and the company that ran the
line. The Titanic’s last port of call was Cobh, Co Cork Ireland and this recording was
created using field recordings made at, on and under (hydrophone) the actual pier that
the last boarding passengers crossed to board the boats that brought them out to the
Titanic. This year 2012 is the centenary of the sinking of the ship.
Danny Mc Carthy studied at the National College of Art and Design. He has pioneered both
performance art and sound art in Ireland and continues to be a leading exponent
exhibiting and performing both in Ireland and abroad. In early 2006 he founded The Quiet
Club (with Mick O Shea), a floating membership sound (art and electronics) performance
group. His work has appeared on numerous CDs and has been broadcast widely on both
radio and TV. He is a founding director of Triskel Arts Centre, Cork, and of the National
Sculpture Factory and is a director of Art Trail and the Sirius Arts Centre Cobh. Recent
exhibitions include the premiere of his piece 'waTEr' at the Bourges International Electro
Acoustic Music Festival, 'Sounding The Town' and 'Wa(l)king The Dream' in the Sirius Arts
Centre Cobh Ireland.
http://www.gruenrekorder.de/?page_id=7110
Craig Vear | Antarctica
In the winter (Austral summer) of 2003/4 I embarked on an ambitious musical project in
Antarctica, having been awarded a joint fellowship from Arts Council England and the
British Antarctic Survey’s Artists and Writers Programme. The purpose of my visit was to
compile a unique library of field recordings from the Antarctic and sub-Antarctic regions,
which would become the sound source for music composition. The focus of my many field
recordings was to capture and reflect the relationship between the British Antarctic
Survey (BAS) and the continent it embraces, and the life and populations of the area
surrounding the Weddell Sea. Under these headings, the natural sounds (wind, sea,
weather and wildlife), the human sounds (scientists living and working, boat captains,
‘talking heads’ interviews and conversation), the mechanical sounds (machinery,
generators, boats, scientific experiments, travel, entertainment), and the
phenomenological sounds (whistling rigging, clanking objects, crunching ice floes, musical
accidents) were of equal significance. I journeyed to far and desolate lands, recorded
colonies of penguins and seals, flew to isolated huts deep in the Antarctic Peninsula, and
smashed through pack ice aboard an ice strengthened ship. I experienced the euphoric
highs and the mind-crushing lows of solitude, the overwhelming presence of all who had
come and gone, together with the realization that I was, as a human and an artist, a mere
speck on this planet.
Vear works with found sounds, making compositions using computers that allow the
individual sounds to be free. His open works are inspired by John Cage, Gavin Bryars and
Christophe Charles and use chance elements within performance to determine the final
outcome of the composition.
http://www.gruenrekorder.de/?page_id=4733
ABOUT PROGRAMME SUAL AWARD PRESS IMPRINT SUAL HOME
shut up and listen! 2012
Interdisciplinary Festival for Music and Sound Art