Thomas Grill represents the rotting sounds project at the panel discussion “Ungehörtes – Unerhörtes” (unheard – unheard of), featuring archival sound documents of the library of the University of Music and Performing Arts Vienna.
March 13, 6pm
University library, reading room
Anton-von-Webern-Platz 1, 1030 Wien
Reinhold Friedl: Die Suche nach dem Original: vom Verfall elektroakustischer Musik – lecture
Klaus Filip: Sonic Dust – opto-acoustic performance
Till Bovermann: Buffer manipulations – live coding performance
Mario de Vega: Suspension – for quadraphonic system, tape, objects and self-made electronics
The Auditorium is open after 7pm with the following works on display:
Angélica Castelló: Magnetic Room – objects and sound installation
Klaus Filip: Dust a bit – opto-acoustic installation
Juliana Herrero and Thomas Grill: Antenna – sounding object
Martin Howse: Enrichment and depletion – installation
Nicole Krenn and Thomas Grill: Fields of Haze – audiovisual installation
Tobias Leibetseder: Fragments – installation
Mario de Vega: Intermission – sounding object
Till Bovermann and Almut Schilling: CD-R(ot) – sound installation
… and other works and experimental setups of the project team Thomas Grill, Till Bovermann and Almut Schilling.
Live events in the Auditorium during the opening:
Angélica Castelló: Magnetic litany – Performance
Charlotta Ruth: Intervention
Dario Sanfilippo: Phase transitions – Multi-channel electroacoustic performance
For a visit of the auditorium at the opening a personal registration is absolutely recommended!
The rotting sounds project is a cooperation between the University of Music and Performing Arts Vienna, the University of Applied Arts Vienna and the Academy of Fine Arts Vienna, funded by the Austrian Science Fund (FWF).
At this year’s edition of the re_composed series, part of paraflows XIII, festival for digital art and cultures, i will present a new piece of acousmatic music, titled residuals.
The piece is re-composed solely of compression artifacts, originating from my piece Points of View, as performed at the same re_composed festival five years earlier. The new piece has the same 24 minute duration as the prior performance, and also the same 4-channel layout.
October 31 thru November 3, 2018
weisses haus, Hegelgasse 14, 1010 Wien, Austria
We will host the workshop “sound-material-time”, taking place November 8+9, 2018, at the Anton Bruckner Private University, Linz, Austria.
We are specifically targeting practitioners and theorists in music / sound art explicitly working with long time spans / obsolescence phenomena / explicit degradation.
In principle also other forms of time-based art are welcome if they are topical. Our focus is on digital media, but deviations are possible.
Since the workshop is within our artistic research project “rotting sounds”, its intentions should well resonate with your topic.
We would like to stress the fact that this is not a scientific workshop, but rather a gathering where we would like to discuss (personal) artistic practices and their contexts.
Central concepts are the following:
Each of the participants should bring along material things of their work practice which could be instruments, data carriers, objects of interests and passion. You should also give a short introduction about this practice.
Our intention is to keep the number of participants low (select 5-8 or so) and to zoom in on each practice individually.
All three core members of the research project will be present (Thomas Grill, Till Bovermann and Almut Schilling).
Within the group, we will develop questions and experiments on deterioration specifically for each participant.
We will also ask the participants prior to the workshop about specific topics they would like to have addressed.
The work schedule is 10am-1pm and 2pm to 5pm on both days, tentatively.
There will be a possibility for public presentation (concert format) in the evening of November 9.
The deadline for applications is Sunday, October 21, 2018.
Participation is free of charge.
Please direct your applications to email@example.com, including
Please distribute the call!
Together with Katharina Hauke, Till will be on a journey to Invisible Worlds at Eden Project in Cornwall, UK. The residency resides under the theme … and then we see if we will be friends and is meant to be an invitation to all curious organisms and life-forms in and around the Eden Project to create sounds and improvised experimental music together (with us).
Small networked music making systems will be set up within the various sites of the Eden Project that feature differing degrees of self-sufficiency and interaction possibilities for both visitors and inhabitants.
We plan to adapt and extend our semi-autonomous platform fielding to both sense and provoke actions of the various actors, inviting them to explore emergent collaborative phenomena. Of course, the (obvious) connection to rotting sounds will be investigated within the residency and related material be collected over at friendly.organisms.de.
Hope to see you there in September!
Under the title “Letting loose, embracing the loss”, I will talk about implications of audio deterioration at the Ars Electronica symposium “… under control of music, music under control of …; composing (in) digital worlds”, part of the Sonic Saturday at Anton-Bruckner Private University, Linz.
Most of today’s media output, also music, is produced and stored in the digital domain. Although digital data are adorned by the myth of lossless transmission and migration, everyday experience does prove the existence of degradation and, ultimately, data loss in various forms. This pertains to the physical nature of storage media and playback devices as well as to media formats and software in the context of their technological infrastructure.
Usually, this loss of control over the musical material is counteracted in the personal or societal domain using various kinds of archival strategies.
In the running project of artistic research “rotting sounds”, however, we rely on the hypothesis that by gaining pertinent knowledge and developing adequate means to work with digital degradation in a constructive fashion, its inevitability can be turned from being a source of irritation into a potential for aesthetic choice.
September 8, 2018, 4pm-7pm
Anton Bruckner Private University
Hagenstraße 57, 4040 Linz, Austria
I will present some observations and implications on our topic of the degradation of digital audio. Consequentially, i will try to formulate a number of bold claims summing up to the form of a manifesto.
Politics of the Machine conference
Aalborg University Copenhagen
A. C. Meyers Vænge 15, 2450 Copenhagen, Denmark
May 16 2018, “sonic machines” session at 3:45pm
From May 11 thru 13, the project members will gather for a formal kick-off meeting in order to flesh out the goals and strategies for the months to come.
One important part of this meeting will be a public discourse session. There will be a number of short presentations where team members explain their respective personal perspectives on the project, and, more prominently, an open discussion, where we invite the interested audience to contribute their ideas and wishes for the project to our kick-off event.
The open discourse will be guided by performer Charlotta Ruth. The event will be held in English.
Friday, May 11 2018, 15-18h
spiel|mach|t|raum, room S0225
University of Music and Performing Arts Vienna (MDW)
Anton-von-Webern-Platz 1, 1030 Vienna, Austria
Right after the official start with May 1, Thomas Grill and Almut Schilling will present concepts and strategies of the rotting sounds project as part of the Applied Practice lecture series, both from their respective angles of sound art and digital preservation.
Following will be an open discussion session led by media expert Michael Iber where the audience is cordially invited to share their thoughts on the topic with us. The talk will be in held in German language.
May 2 2018, 17h
Angewandte Innovation Laboratory (AIL)
Franz-Josefs-Kai 3, 1010 Vienna, Austria
4 April 2018, 9.30 am – 6.00 pm
MDW – University of Music and Performing Arts Vienna
Fanny Hensel Hall
Artistic research as it has emerged and evolved over the last three decades is related to an increasing interest in epistemological questions as well as an interrogation of how artistic practices constitutively support and instigate processes of knowledge creation. Art is thus being looked at both as an object and a medium of research, becoming part of a general discourse on knowledge regimes and research models.
The symposium will investigate this dynamic, ever-renewing field of interrelations with a special focus on the performing arts. Highlighting the issue of various implementation models in curricula and study programmes in higher arts education, it will critically analyse international institutional policies and facilitate an open debate on how to integrate current practices and discourses into future teaching and research structures.