MODULE #1 (31 JULY - 7 August 2022)

Thinking with the ears - means consciously expanding our living-space perception by the auditory dimension.

During the residency, our working session will start with the inseparable relationship between objects/spaces and sound events. This opens access to their respective inherent auditory, psychotropic, atmospheric and musical qualities. Our hearing in space is unconscious or functionalized for a good reason in our primary urban living environments. Loudness and a multitude of machines, traffic, and media sounds that - without direct reference to us or the place - invade us in everyday life tempt or force us more and more to listen away.

Conscious auditory perception of space makes it possible to develop other things, contexts, and ideas in and for our living environments and makes their atmospheres emotionally experience-able, thinkable, and tangible. Within this frame, together we will develop experimentally thinking with the ears in the sense of artistic research. We will use this particular methodologies to experiment with the deep recesses of the heard and the unheard and study a new auditory thought form.

• No previous experience required for this working session.

Session Requirements: The appropriate clothing and a water bottle, pen, and notebook are the minimum equipment for the season and environment. Participants involved in field recordings are welcome to bring their equipment and use it. This applies to all recording tools, but they are not essential.

Sam Auinger is a sonic Thinker, composer and sound artist. Born in Linz (Austria), lives and works in Linz and Berlin. Together with Bruce Odland, he founded O+A in 1989. Their central theme is hearing perspective. They are known for their permanent sound installations in public space, which transform urban sound in real time, as in the works harmonic bridge MassMoca (US) since 1998 and Sonic Vista Frankfurt (D) since 2011. In 2009, they begin a discourse on the theme of Sonic Commons with an article in the Leonardo Music Journal, which questions the dominance of our visual culture in perceiving the world. Since 2000 collaboration with the bassist and composer Hannes Strobl at tamtam, and the urbanist and media artist Dietmar Offenhuber.

Sam Auinger has received numerous scholarships and prizes, including the Culture Prize of the City of Linz 2002 and the SKE Publicity Prize 2007. In 1997 he was a guest of the DAAD’s Berlin Artists-in-Residence Programme (berliner theorie) together with Rupert Huber. In 2008/2009 he was a scholarship holder at the Cité International des Arts in Paris and became the first city sound artist in Bonn in 2010. In 2011 he was featured artist at the Ars Electronica in Linz.

From 2008 to 2012, he was Professor at the UdK Berlin and Head of the Department of Experimental Sound Design in the Master’s Program in Sound Studies. From 2013 to 2015 he was an associate at the GSD in Harvard and in 2017 a guest lecturer in the Art Culture and Technology program at MIT.

In addition to his artistic work, he collaborates with urban planners and architects, gives lectures and conducts workshops, and frequently participates in international symposia on urban planning, architecture, media, perception and sound. www.o-a.info www.tamtam.berlin www.stadtmusik.org www.samauinger.de

The outcome of the session will be performed on August 6.

“Since the time of Immanuel Kant, "formalism" has been a pivotal topic for both the arts and architecture. In the simplest sense, formalism refers to the idea that a work of art or architecture is cut off from its surroundings. Anti-formalism would mean, by contrast, that a work simply cannot be cut off from its social, political, or biographical context. In Art and Objects (2020) I tried to show that while a certain degree of formalism is inevitable in the arts, this cannot take the form of separating art from its beholders, as both Kant and Michael Fried attempt to do; art is innately theatrical, though still cut off from its environs nonetheless. In the freshly published Architecture and Objects (2022), I claim that both form and function in architecture have been interpreted in too relational a sense, and thus in too non-formal a sense. The way forward for architecture is to move in the direction of what I call zero-form and zero-function.

Graham Harman is Distinguished Professor of Philosophy at SCI-Arc. His most recent books are Object-Oriented Ontology (2018), Speculative Realism (2018), Art and Objects (2020), and Is There an Object-Oriented Architecture? (2020, ed. Joseph Bedford). He is Editor in Chief of the journal Open Philosophy, Editor of the Speculative Realism series at Edinburgh University Press, and Co-Editor (with Bruno Latour) of the New Metaphysics series at Open Humanities Press. Forthcoming books within the next year include Skirmishes (punctum books), Architecture and Objects (Univ. of Minnesota Press), and Waves and Stones (Penguin). His writings have been translated into twenty-four languages. Prof. Harman has also taught at the American University in Cairo, the University of Amsterdam, the University of Turin, and Yale University. www.en.wikipedia.org/wiki/Graham_Harman www.doctorzamalek2.wordpress.com

Martin Riches is an artist working in the fields of media art and sound art. He makes music machines, sound installations and acoustic speech synthesizers. He has studied architecture in London from 1961-1968. After his move to Berlin in 1969, he practiced architecture for ten years. In 1979, he created his first music machine The Flute Playing Machine and since then has been active in the field of Kinetism and Klangkunst. His works are presented simultaneously as installations and as musical performances. He has exhibited in Music Machines, Institute of Contemporary Art, London 1983; INVENTIONEN Berlin, 1985 und 1994; Interactive Field, Biennale’99, Tokyo; Audio Surfer, “ZeitReise”, Akademie der K�nste, Berlin 2000. The artist lives and works in Berlin. www.martinriches.de

MODULE #2 (7 - 24 August 2022)

One can think of the voice as an extension of the self. Shaped inside the body of its origin it is personal, nuanced and sensual. Its structure carries multiple layers, meaning and emotion, and its immateriality enables the voice to float from one core inside another. Creating intriguing connections through the air between us. As much as a voice is projecting oneself beyond one’s bodily boundaries the voice is also protruding inside the body of the listener. When we speak, we are not just merely making sounds but also invading other bodies.

In this working session we will look at the voice as both as personal, solitary sound and as a transcending tool, a vehicle for creating connections from within one body to others. We will explore the individual and the polyphonic. We will start from the private voice with its intimacies, uncertainties and nuances, and together build towards seductive multitude of voices, merging into choirs, imitations and echoes, eventually breaking down into bewildering cacophonies of solitary singularities.

*No previous experience required for this working session.

Session Requirements: Participants may bring their own voice/ sound enhancement tools of their choice (not compulsory).

Hans Rosenström (b. 1978, Lohja, Finland). Rosenström’s practice centers around installations that deal with the viewers psychological and physical relationship within a specific moment and place. The works are often carefully produced in relation to the sites where they are experienced in. When creating these situations he uses a wide variety of media and material; from the ephemeral yet tactile qualities of sound to architectural interventions. The presence of the viewer is integral in the work which often remains incomplete until it has been activated. Hans Rosenström's 'Jökulsárlón II' is the first artwork by a Finnish artist in Solomon R. Guggenheim's collection. His latest works include operas in public spaces public sound installation, Kings Cross, London, UK and in Helsinki, Finland. Rosenström has participated in multiple group exhibitions including: Anatomy of Political Melancholy, Schwarz Foundation, Athens Conservatory, Greece (2019), Everything Was Forever, Until It Was No More, 1st Riga International Biennial of Contemporary Art, Riga (2018), The Garden – End of Times, Beginning of Time, Aros Triennial, Århus, Denmark (2017), The Vanishing Point of History, L’Été Photographique de Lectoure, France (2015), Theater of The Mind, Cranbrook Art Museum, Bloomfield Hills, USA (2014) and Nouvelles Vagues: The Black Moon, Palais de Tokyo, Paris, France (2014). His solo exhibitions include No Land is an Island, Kuntsi, Museum of Modern Art in Vaasa, Finland (2019), a u g u s t, Helsinki Contemporary, Finland (2017) and Off Seasons, in collaboration with Stormglas at EMMA, Espoo Museum of Modern Art, Finland (2017) and Du utan jag, The Studio, Moderna Museet, Stockholm Sweden (2011). Rosenström’s works can be seen in multiple collections, including Kiasma, Museum of Contemporary Art, Amos Rex, EMMA, Espoo Museum of Modern Art, and the Saastamoinen Foundation Collection. In 2011 Rosenström was awarded the The Finnish Art Associasion Ducat Prize and in 2015 he was nominated for the Ars Fennica Prize.

www.hansrosenstrom.net

The outcome of the session will be performed on 13 August.

Natural voices and sounds with free improvisation. The voice is an instrument!

We feel the existence of our voice by recognising our body. The voice is part of one whole along with the (object) and our inner world (subject). Hence we grasp the significance of our breathing. Breathing connects and converts an object into the subject. Breathing is life, life is breathing!

If we adults imagine ourselves as children –by its very nature—it becomes easier to experiment and then to express ourselves. Unscripted, direct and natural. This notion is the golden scissors for our voice.

The voice (semi object and semi subject) is multifaceted as an instrument – using our voice, we not only sing sweet tunes or talk, but also shout, chirp like a bird, act all silly, cry, laugh, express sorrow and joy, become young, old, woman, man, child or animal– through voice, emotions, moods, objects become visual.

During our residency, we will be doing voice experiments with words and sounds, both by oneself and as groups. Words and visualisation are closet each other. Therefore our exercises use imagination. The existence of the body will be perceived in a conscious manner – letting go of ourselves attentively and with respect. Body exercises are also part and parcel of this. In using our voices, the mouth, the nose and the eye cavities are our working tools.

The objective is to establish, at the end of our voice exercises, a healthy connection with our outer and inner worlds -as well as radiating positive vibes to our environment. As a result we can feel our voices to be more playful, rounded and expansive and express ourselves in a more pronounced and meaningful way. It is only when we are our true selves that we can develop our artistic side and be convincing.

Session Requirements: No previous experience required for this working session.

Saadet Türköz is a Kazakh-Turkish singer, composer and a shiatsu therapist who currently lives in Switzerland. Her ancestors were nomads who migrated from Semey in Kazakhstan to East Turkestan from where they fled via India and Pakistan to Istanbul. Türköz’s first recordings were influenced by the folk music of her homeland, East Turkestan; in recent years, her repertoire has widened to include improvised music and modern interpretations of Turkish and Kazakh music. New music became increasingly important to her and she began to feel at home and understood in Zurich’s eclectic free music scene. Türköz recorded her album "Kumuska" with the American composer and multi-instrumentalist Elliott Sharp (b.1951), the great artist of the world of electric, metallic, raw sounds as well as complex and groovy rhythms. By now they are trusted partners, having known each other since the 1990’s and first recorded together on the album Marmara Sea. Jazz critic Manfred Papst writes in the liner notes: “Saadet Türköz is a charismatic shaman certainly, but not the pompous kind. She has a sense of humour, and even when her head is in the clouds, her feet are on the ground. The words and sounds illuminate daily life.” www.saadet.ch

The outcome of the session will be performed on August 20.

In this seminar, Zeynep Bulut will talk about multi and cross-sensory interactions between voice and environment, drawing on examples in sound and media art. She will suggest considering a voice which is not limited to human body or mediums of verbal language. Employing her notion of “voice as skin,” that is, voice as a multi-sensory interface which both connects and differentiates the bodies, she will discuss how a voice is not pre-determined or fixed but made individually and collectively.

Zeynep Bulut is a Lecturer in Music at Queen’s University Belfast. Her research interests include voice and sound studies, experimental music, sound and media art, technologies of hearing and speech, voice and environment, and music and medicine. She is currently completing her first manuscript, titled, Building a Voice: Sound, Surface, Skin. Her articles have appeared in various volumes and journals including Perspectives of New Music, Postmodern Culture, and Music and Politics. Alongside her scholarly work, she has also exhibited sound works, composed and performed vocal pieces for concert, video and theatre, and released two singles. Her composer profile has been featured by British Music Collection. She is sound review editor for Sound Studies: An Interdisciplinary Journal, and project lead for the collaborative research initiative “Map A Voice.” https://pure.qub.ac.uk/en/persons/zeynep-bulut

As we discuss the perceptions of voice as objects, and objects having voices to be heard buy us humans and other objects, Field Kitchen Academy hosts a special ventriloquist guest to elevate the subject.

Daniel Reinsberg was born in Addis Ababa, Ethiopia. He grew up in Hamburg, Germany, and discovered his love for the stage already in his early years of school. Workshops in pantomime and magic were the first exposures, followed by singing lessons, ventriloquism and juggling. Very soon his first performances in small theaters followed. After graduation he moved to Berlin, Germany, where he became part of a new generation of innovative artists. At the age of 22 Daniel started as a host of a popular television show at channel ZDF, where he interviewed numerous of celebrities and wrote simultaneously for radio shows on Radio Brandenburg Berlin. But his main passion was the direct interaction with a live audience as a „Vent“ artist.

During his career he has received multiple awards from China and Japan (World Performance in Osaka), among others. 2008 he was awarded the prestigious “Hamburg Comedy Cup”. These days Daniel is a leading artists in big shows like the gourmet theater “Palazzo”, all the GOP theaters and performs regularly at the “Quatsch Comedy Club” in Berlin and Hamburg.

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.

Mario Asef is an architect and conceptual artist based in Berlin. He studied architecture at the University of Architecture and Urban Development in Córdoba, Argentina (Dpl.), and art at Chelsea College for Art and Design in London, England, Staatliche Akademie der Bildenden Künste, Karlsruhe and at the Universität der Kunst (UdK) in Berlin, Germany, where he obtained a master’s degree. His work has been exhibited worldwide, most recently at Daegu Photo Biennale (South Korea), Quartier 21 (Museumsquartier, Vienna), Hamburger Kunsthalle, Villa Merkel (Esslingen, Germany), a. o.

Since 2014 he organizes exhibitions and lectures for Errant Sound, a project space dedicated to sound art in Berlin.

Zen Masters Na Rin Bit & Ga On Bit have been working with the inter-changable nature and transformation capacity of sound and its results on the human body, environment and the instruments itself since 25 years. The lecture will be on the merging of the object (voice) and the subject (the performer) through sound. In order to have Sanskrit mantra chantings to have deep meditative aspects, the words uttered have to be heard as if they are an external sound. The words become objects, the subject and the object merges and in the end, neither the subject nor the object exists. It is only the voice/ sound that has its presence.

Ga On Bit has been working as a spiritual guide for the last 30 years. He’s trained in South Korean temples for many years. His long practical experience, combined with his Buddhist training led to his extraordinary healing power. He has strong level of empathy, and a loving personality. His guidance made life-changing transfers in his student’s lives. His teachings are not only limited to Zen but also open to all beliefs and cultures. Na Rin Bit left her successful business career in London to help people in their journey of life. She has a gentle approachable attitude and genuine desire to help, and has enabled many people to change their lives for the better. She has created many personal development programmes. They use sound as the main element in their zen practices. They are currently living in Ida Mountains in West Turkey.

www.hyperionquest.com

• The organizers reserve the right to make changes to the programme.