Shortly after the publication of Jules Verne’s novel Paris in the 20th Century, in 1994, Bert Wrede and Peter Lang decided to transform this wild subject into a sound composition. In 1996 they produced an installation of eight channels with voices and sounds for an exhibition in the Technical Collections of the Museum of Dresden,The Thing Between.The sounds were derived from a 12-cylinder emergency power system, a so-called submarine diesel motor from Charité Hospital in Berlin.The voices were those of Bert Wrede’s daughter, twelve years old at the time, and of professional actresses.

 

Subsonic, 2014, 10 inch Dubplate, Edition of 30 + 5AP ́s, 470.- Euros

 

10‘ inch Dubplate

6:34 min.

performed and recorded by

Mike Bourscheid

layout

Mike Bourscheid

silcscreenprint

Mike Bourscheid

mastered at Phlexton Studios

Kraans de Lutin 

Edition of 30 + 4AP´s, 470.- €

 

12‘ inch Dubplate

22 min.

vocals by

Sonja Cvitkovic, Birgit Megerle, Michaela Meise

composed by

Sonja Cvitkovic and Marine Drouan

recorded and produced by

Marine Drouan

all lyrics based on quotes from translated Sappho fragments, printed in following books: Sappho Liebesgedichte, The Complete poems of Sappho

photo by

Sonja Cvitkovic

layout by

Marine Drouan

mastered at Phlexton Studios by

Kraans De Lutin

Edition of 30 + 4AP´s, 470.- €

 

My mistress‘ eyes are nothing like the sun
BY WILLIAM SHAKESPEARE

 

My mistress‘ eyes are nothing like the sun;
Coral is far more red than her lips‘ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.

 

12‘ inch Dubplate 14:54 min.

 

As the boundaries of human research approach penetration of the quantum veil, the surfaces of biological machinery begin to reveal mysterious shapes and motions. Beyond the reach of our naked eyes, skin is a pulsating alien landscape in a state of continuous geological formation, where death is an apocalypse in slow motion. Inside the abstraction of closeness, the extra-terrestrial engulfs. ‘Studies of an Alien Skin’ is visual exploration of this terrain and a speculative sonic realization of its transmissions. Scanning across different sections of pulsating bodies of one of the earth’s very own alien organisms, the installation swirls through the visual instability of matter, the empathetic projection of emotion onto non-human life, the electricity of organicity, and the psychedelia of biology.

 

12″ inch Dubplate

Gestaltung Cover etc:

 

I am sitting in a machine; is an algorithmic work that begins with a recording of an artificial human voice reciting a text which is then run through an MP3 encoder over and over again. With each iteration of the loop, one may hear the artefacts of the encoding process reinforcing themselves and gradually distorting the artificial human voice by revealing its data format.
The work is a hommage to composer Alvin Lucier’s 1969 piece I Am Sitting in a Room. The work consists of two parts. The first part is a limited edition, 30 unit dubplate vinyl. The second is a web page application distributed via the Internet. In both renderings, there are 32 tracks selected from 3000 successive iterations of the 128 kbps 44.1 kHz MP3 encoding.

 

Martin Backes, I am sitting in a machine; 2017, 12 inch Dubplate, Edition of 30 + 5AP ́s, 500,- Euros

 

www.martinbackes.com
www.iamsittinginamachine.net

 

How often must a certain behavior pattern be repeated until it generates an autarkic mood, how often must an acoustic sequence or pattern run in a loop until it generates an awareness of its own? The titles Priority Hunter, Forensic Files and Mental Vandal deal with the question at which point an initially naive habit develops into compulsive and in the end irrefutable behavior. This slow process is accentuated by a still on the cover showing a winning run of the computer game solitaire,- incorporating an infantile memory yet continually growing longing for exactly this falling of the cards and first feeling of addiction. Analogous to this innocuous image, the tracks in sequence as a soundtrack, can be understood as an expanding process of clarification and repression, leading up to a complacency towards continually distinct neurotic behavior. Every title was arranged during its recording.

 

Wie oft muss ein Verhaltensmuster wiederholt werden, bis es eine autarke Stimmung, wie oft muss eine akustische Sequenz oder ein Pattern in der Schleife laufen, bis es eine eigene Wahrnehmung generiert? Die Titel Priority Hunter, Forensic Filesund Mental Vandalbeschäftigen sich mit der Fragestellung, ab wann sich eine zunächst naive Angewohnheit entschieden zwanghaft und letztlich unabweisbar entwickelt. Exemplarisch untermalt wird der schleichende Prozess durch ein auf dem Cover verwendetes Still der Gewinnsequenz des Computerspiels Solitär, welches eine kindliche Erinnerung zugleich aber auch ein stetig wachsendes Verlangen nach eben diesem Kartenfall und somit ein erstes Suchtgefühl verkörpert. Analog zu diesem harmlosen Bild können die Tracks in der Abfolge als Soundtrack eines wachsenden Abklärung- und Verdrängungsmechanismus bis hin zur Selbstgefälligkeit gegenüber eines immer ausgeprägteren neurotischen Verhaltens verstanden werden. Alle Aufnahmen wurden während der Aufzeichnung arrangiert.

 

David Kunold, Priority Hunter, Forensic Files and Mental Vandal; 2018, 12 inch Dubplate, Edition of 30 + 5AP ‘s

 

In the sound piece One Beginning, three Stages and many Endings, Engelmann densely assembles interviews, found footage and own recordings . The text and audio fragments originate from typical Ayahuasca rites in the Amazon region. Based on her own hallucinogenic experiences with the use and adoption of Ayahuasca tea, Engelmann considers the hype of this psychedelic brew in the globalized, psychologized, “western“ and scientific context. Rather than understanding the original rite of the indigenous groups, she focuses on the potential of reflection of autoethnographic techniques inspired by the American sociologist Carolyn Ellis. Engelmann emphasizes the linguistic attempt to classify this subjective experience in our body of knowledge with elements of pop music and spheric, electronic sounds.

 

Im Soundstück One Beginning, three Stagesand many Endings werden von Engelmann Interviews, Found Footage-Materialien und eigenen Aufzeichnungen dicht montiert. Die verwendeten Text- und Audiofragmente entstammen einem für das Amazonasgebiet typischen Ayahuasca Ritual. Ausgehend von ihrer eigenen halluzinogenen Erfahrung mit der Anwendung und Aneignung des Ayahuasca Tees beschäftigt sich Engelmann mit dem Hype dieses bewusstseinserweiternden Gebräus im globalisierten, psychologisierten, „westlichen“ und wissenschaftlichen Kontext. Dabei geht es ihr nicht darum, das ursprüngliche Ritual der indigenen Gruppen zu verstehen, sondern, inspiriert von der amerikanischen Soziologin Carolyn Ellis, um das Reflektions- Potential autoethnografischer Verfahren. Den sprachlichen Versuch diese subjektive Erfahrung in unseren Wissenskanon einzuordnen, überspitzt Engelmann mittels musikalischer Popelemente und sphärischer, maschinell erstellter Klänge.

 

Antje Engelmann, One Beginning, three Stages and many Endings; 2018, 12 inch Dubplate, Edition of 30 + 5AP ‘s