News

“gestern-heute-morgen in der Konservierung” – Verrottende Klänge bei der Tagung des Österreichischen Restauratorenverbandes

At the annual conference of the austrian restorers association the rotting sounds were represented by Almut Schilling, discussing the <patina>, which is in fundamental part of all preservation processes and opens valuable points of views to think about digital asthetics of temporal deterioration.

6.-7.03.2020 Salzburg

Art’s birthday 2020

We had a great evening at the Kunstradio Art’s Birthday Party! The audio CDs we produced live were given away as presents to the audience, hopefully delighting Art too.

Our performance is aired on Kunstradio-Radiokunst, radio ORF Ö1 on February 26 2020 11pm.

Materialities symposium, Sussex University, Brighton, December 4+5

Thomas Grill and Till Bovermann will represent activities of the Rotting Sounds project within a fast-paced symposium on the subject of materialities in music making.

Duo Performance @ the Rosehill Arts: December 4, 9pm

Thomas Grill – Musical material
Probing of fragments of deceased instruments by use of digital sound. Sounding the materials, shapes, resonances – tracing remnants of a musical life.
Till Bovermann – Buffer manipulations
Probing and fragmentation of deceased digital sound. Sounding the materials, shapes, resonances – tracing remnants of a brief ephemerality.

Masterclass and Round table/panel discussion: December 5, 10-13h
Notions of materiality and influence on practice

Topics relating to notions of materiality and influence on practice are discussed by a panel of academics/composers and performers. This promises to be a lively debate relating to media archeology, liveness and audience perspective.
Participants include Evelyn Ficarra, Tom Richards, Till Bovermann, Thomas Grill and others.

The Wire review of AI x Music festival

Sumit Paul-Choudhury has contributed a review of Ars Electronica’s AI x Music festival to the The Wire magazine’s November edition, featuring our installation Mutual Understanding. It is listed as an exception to the line of presented works quite unrelated to the festival’s theme.

Performances at the Auditorium: “Fragments”, October 2

The performance evening will revolve around Tobias Leibetseder‘s processual and constantly changing sculpture “Fragments“. It is in permanent development and consists of artifacts of the Rotting sounds research process. Waste, things collected, things stored and put aside, texts, pictures, data, sounds etc. are the basis of the shape-changing work. Object or exhibition, museum or archive, collection or documentation are moments of intrinsic research and decomposition, accompanying the process and resting in the distant but immediate eye of the observer.

Tobias Leibetseder‘s performance Transformation 1 is a transformation step and insight into the process of fragments. Artifacts as materials and sounds are transformed into new shapes and synthesized in a performative and concert act.

Angélica Castelló will present a performance based on recordings of her performance “Magnetic litany” from the opening evening of the Auditorium of Rotting sounds on March 29, 2019. It is connected to the permanently exhibited object “Magnetic Room“.

Elisabeth Flunger and Thomas Grill will jointly improvise on material and digital scrap. Everything seemingly valuable today will eventually transform into scraps. We take it as an aesthetic option.

October 2, 2019 19:00
Auditorium of Rotting sounds (Altes Auditorium)
University of Music and Performing Arts Vienna
Anton-von-Webern-Platz 1, 1030 Wien

As the audience will have to be limited, admission is on personal registration only.

The pieces Magnetic litany 1 and 2 by Angélica Castelló have been made possible by the support of El Sistema Nacional de Creadores de Arte (FONCA).

Short interview on Rotting sounds

The Zentrum Fokus Forschung at the University of Applied Arts Vienna has produced a short interview with me explaining in very short the project of Rotting sounds. This was done in the context of the exhibition UNDERSTANDING – art & research at the Museum of Applied Arts in Vienna.

Printing new 1-bit audio object “Reference Tone”

For the upcoming exhibition UNDERSTANDING ART AND RESEARCH at the Museum of Applied Arts (MAK), we today printed the new prototypical audio object Reference Tone at the Digital Photography Lab at the University of Applied Arts.

It is a variation on the large-scale 1-bit audio print concept, similar to Midnight Song, as exhibited in our Auditorium of Rotting Sounds. Reference Tone represents a 1 kHz -3 dBFS sine tone at 44.1 kHz PCM sample rate, converted to a 1-bit DSD encoding with 64-times oversampling.

The director of the lab, Josef Schauer-Schmidinger supervised the printing of the 250 MB programmatically generated PDF file at 150 dpi bit structure size. The printed diameter of 100 cm contains approximately 30 Million bits, equivalent to about 10 seconds of very high quality audio.

Librarian’s Choice, MDW, March 13

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

Article in MDW magazine, February 25

The web and print magazine of the University of Music and Performing Arts Vienna (MDW) has published an article on the Rotting sounds project.

Link to article

Notes and sketches by Till Bovermann and Almut Schilling

Article in Austrian daily newspaper Der Standard, February 20

Journalist Doris Griesser has authored a nice feature article on the opening of the upcoming “Auditorium of Rotting sounds” for the Austrian daily newspaper Der Standard.

Spannend, was aus diesen wissenschaftlichen Expeditionen erwachsen kann. Vielleicht auch eine neue Ästhetik des Verfalls und des Unperfekten.