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. 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. 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. 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. 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. ABOUT          PROGRAMME          SUAL AWARD           PRESS          IMPRINT          SUAL HOME shut up and listen! 2012 Interdisciplinary Festival for Music and Sound Art