Ancient Man Used “Super-Acoustics” to Alter Consciousness

"A prehistoric necropolis yields clues to the ancient use of sound and its effect on human brain activity.
Researchers detected the presence of a strong double resonance frequency at 70Hz and 114Hz inside a 5,000-years-old mortuary temple on the Mediterranean island of Malta. The Ħal Saflieni Hypogeum is an underground complex created in the Neolithic (New Stone Age) period as a depository for bones and a shrine for ritual use. A chamber known as "The Oracle Room" has a fabled reputation for exceptional sound behavior.
During testing, a deep male voice tuned to these frequencies stimulated a resonance phenomenon throughout the hypogeum, creating bone-chilling effects. It was reported that sounds echoed for up to 8 seconds. Archaeologist Fernando Coimbra said that he felt the sound crossing his body at high speed, leaving a sensation of relaxation. When it was repeated, the sensation returned and he also had the illusion that the sound was reflected from his body to the ancient red ochre paintings on the walls. One can only imagine the experience in antiquity: standing in what must have been somewhat odorous dark and listening to ritual chant while low light flickered over the bones of one's departed loved ones."
http://phys.org/wire-news/164386603/ancient-man-used-super-acoustics-to-alter-consciousness-and-spe.html


http://www.archaeoacoustics.org/

Arnold Dreyblatt

In his installations, performances and media works, Dreyblatt creates complex textual and spatial metaphors for memory which function as a media discourse on recollection and the archive. His installations, public artworks and performances have been exhibited and staged extensively in Europe. "Dreyblatt's project, maintains its edge--and its importance for the rethinking of identity, history, culture, and memory--by refusing to retreat from or transcend [...] public, archival traces." - Jeffrey Wallen, Hampshire College.
Among the second generation of New York minimal composers, Arnold Dreyblatt has developed a unique approach to composition and music performance. He has invented a set of new and original instruments, performance techniques, and a system of tuning. His compositions are based on harmonics, and thus just intonation, played either through a bowing technique he developed for his modified bass, and other modified and conventional instruments which he specially tuned. He originally used a steady pulse provided by the bowing motion on his bass (placing his music in the minimal category), but he eventually added many more instruments and more rhythmic variety.
Quelle: http://en.wikipedia.org/wiki/Arnold_Dreyblatt






http://www.dreyblatt.de/

The Wunderblock, 2000
In 1925, Freud wrote a text that compares the faculty of memory to a child's toy known as a Wunderblock. It consists of a wax slab stretched with cellophane, upon which a text may be inscribed, and just as readily erased by lifting the cellophane layer up and away from the wax slab.

In contrast to Freud's model, in which the pressure of the act of inscription onto the cellophane surface continues in the direction of the underlying layer of wax, in 'The Wunderblock', the original selection and entry of data has been concluded in the past. The movement originates from ROM and is held in RAM, before travelling up towards the surface.



The ReCollection Mechanism
data projection, circular wire screen, sound, 1998 Black room, computer data projection, suspended wire mesh, sound equipment. Size variable.

An automated writing and recitation machine is found in a darkened black space. One enters a three dimensional data architecture where the process of searching, sorting and locating words and the overlapping inter-textual linkages of information are simulated optically by metaphors of transparence and complexity. Projected onto a barely visible cylindrical screen are multiple transparent layers of continually flowing historical data, which appear to be suspended in the center of the space, and which delineate the room contours with textual landscapes.

Toshio Hosokawa

"Er sagt, in der europäischen Musik sei ein Ton nur ein Teil eines Ganzen, während in der japanischen Musik eine Note eine Landschaft darstelle, es folgt immer auf einen Klang eine Pause, dann wieder ein Klang und eine Pause.
Seine Musik charakterisiert er folgendermaßen: Es ist als wenn man langsam durch einen Garten ginge. (Japanische Gärten sind nicht symmetrisch.)"
Quelle: http://de.wikipedia.org/wiki/Toshio_Hosokawa

WHAT WE SEE & MAKE SEEN

Seminar "Visualisation Strategies & Public Spheres"

Visualisation Strategies & Public Spheres. A study of the notions and functions of art in public spheres in Hong Kong and Zurich. As a work in progress it is a working blog and serving as a tool for exchange.
Focus on transculturality, contemporary art in Hong Kong, Public Art, Performance in public space.
http://www.whatwesee.ch/

Die Künste als Agenten des Wirklichen

SCHWINDEL DER WIRKLICHKEIT
VORBEREITUNGSBÜRO, 20.11.2013

Mit Jutta Brückner (Filmemacherin und Autorin), Maria Mohr (Filmemacherin) und Mathias Spahlinger (Komponist)
Gastgeber: Manos Tsangaris (Komponist und Performer) und Johannes Odenthal




"Die Künste produzieren Wirklichkeiten, die in ein Spannungsfeld treten zu dem, was wir als alltägliche Wirklichkeit erfahren. Es geht um Strategien des Widerstands, des Verweigerns, des Intervenierens, des Abbildens und Verstehens, um das Aufdecken der eingefahrenen Muster und die Reflektion der Wahrnehmung. Die Künste als Agenten des Wirklichen? Sind die Künste nicht die Pioniere des kreativen Marktes? Wie die Religion das Opium für das Volk war, so sind die Künste vielleicht das Opium des Marktes.
Eine Selbstbefragung."

Mathias Spahlinger vs Georg Friedrich Haas

Akt, eine Treppe herabsteigend
Mathias Spahlinger

In Vain
Georg Friedrich Haas

Limited Approximations
Georg Friedrich Haas 










Georg Friedrich Haas was born in 1953 in Graz, a city in the east of Austria. His childhood was spent in the mountainous province of Vorarlberg, on the Swiss border. The landscape and the atmosphere of the place have left a lasting impression on his personality.
The atmosphere was marked not so much by natural beauty in the accepted sense of the word. Rather, Haas experienced the mountains as a menace; he felt closed in by the narrow valley where the sun rarely penetrated. Nature for him represented a dark force.
The composer adds: “Just as important for me was the experience of being an outsider: unlike my younger siblings, I never learned to speak the local Alemannic dialect. Also, I was a Protestant in a predominantly Catholic society.”
Quelle: http://www.universaledition.com/Georg-Friedrich-Haas/composers-and-works/composer/278/biography



Mathias Spahlinger (* 15. Oktober 1944 in Frankfurt am Main) ist ein deutscher Komponist. Sein Schaffen vollzieht sich im Spannungsfeld der verschiedensten musikalischen Einflüsse und Stilrichtungen: zwischen Renaissance und Jazz, zwischen musique concrète und Webernschem Minimalismus, zwischen Geräusch, Improvisation und Notation, zwischen ästhetischer Autonomie und politischem Bewusstsein tragen die Werke Spahlingers Konflikte aus, für die es so keine festgelegten Vorbilder gibt. Quelle: http://de.wikipedia.org/wiki/Mathias_Spahlinger



   

Hito Steyerl - November

#VOICEOVER: Hito Steyerl, November, 2004 from KALEIDOSCOPE Videoclub on Vimeo.

"Hito Steyerl's video November (2004) tells the story of one of these images, that of a friend from her youth, Andrea Wolf, as Wolf drifts from B-movie kung-fu fighter to martyr of the Kurdish liberation movement. In between these two extremes, Wolf is given many roles: an 'attractive' woman (as the film's voiceover says) and a friend; a female fighter in a fictional story (who uses martial arts instead of weapons) and an armed revolutionary (who also teaches martial arts to her fellow female fighters); a martyr for the Kurdish cause (executed by Turkish security forces) and a terrorist in hiding (according to the Turkish and German governments). Her two names (Andrea Wolf and Sehît Rohanî, which she adopted when joining the Kurdistan Workers' Party, or PKK) already signify these shifts, but while this change was her choice, the full extent of the transformation of her image was not. As November shows, the destiny of her own image - paraded in the streets of Berlin next to that of PKK founder Abdullah Öcalan - from the moment it was captured (in photograph, film or video) was out of her hands."
Quelle: For a Populist Cinema: On Hito Steyerl’s November and Lovely Andrea
By Pablo Lafuente http://www.afterall.org/journal/issue.19/populist.cinema.hito.steyerls.november.and.lovely.

The Othering

Der Begriff Othering (engl. other „andersartig“) bezeichnet die Differenzierung und Distanzierung der Gruppe, der man sich zugehörig fühlt (Eigengruppe), von anderen Gruppen.
Der Begriff wurde von Gayatri Chakravorty Spivak geprägt.
Othering beschreibt den Prozess, sich selbst und sein soziales Image hervorzuheben, indem man Menschen mit anderen Merkmalen als andersartig, „fremd“ klassifiziert. Es findet also eine betonte Unterscheidung und Distanzierung von „den Anderen“ statt, sei es wegen des Geschlechts, der Religionszugehörigkeit, der ethnischen Zugehörigkeit, der Nationalität, der sozialen Stellung innerhalb einer Gesellschaft, wie z. B. der Klassenzugehörigkeit, der Ideologie, der Spezies oder auch vermeintlicher biologischer Unterscheidungskriterien zwischen Menschen (vgl. Rasse bzw. Rassismus).
http://de.wikipedia.org/wiki/Othering
Bild: http://badcaptain.bandcamp.com/track/youre-not-one-of-us, buy their records!


Stuart Hall, The West and the Rest: Discourse and Power
- Orient as a construction, as a western discourse
- building western identity by constructing the other

Foucault, Regime of Truth
- strong episteme, historical apriori

Edward Said
- orientalism

Scientists Use Sound Waves To Levitate And Manipulate Matter

"[...] They set up two sets of parallel speakers, pointing at each other — a sound geyser from north, south, east and west. The ultrasonic waves are opposite in phase as they pass each other — this creates a little pocket inside the waves. The force generated by the speakers cancel, and after accounting for gravity, keeps the object suspended.
The theory behind acoustic levitation has been around for decades but only recently has it started to come to life (in some cases, literally). Suspending an object in the air is one trick, but moving it in three dimensions is another. Not to mention that for most of the practical R/D purposes, such as combining chemicals, tight control over the object’s position is a must. [...]"
http://blog.sfgate.com/techchron/2014/01/02/sound-waves-suspension/


http://www.disclose.tv/news/Scientists_Use_Sound_Waves_To_Levitate_And_Manipulate_Matter/102074

Thomae, Aesthetische Freiheit

ÄSTHETIK - ÖKONOMIE

PRODUKTION/Kreativität  -  REZEPTION/ästhetische Erfahrung

Richard Florida, Creative Class
http://de.wikipedia.org/wiki/Kreative_Klasse 

Charles Landry, The Creative City
http://en.wikipedia.org/wiki/Creative_city