Von: „Straebel | TU Berlin“
Betreff: 20.10. – Konzert: Kim Cascone; Hopek Quirin & Kris Limbach
Datum: 18. Oktober 2013 12:17:46 MESZ
Sonntag, 20.10.2013 | 20:00
Taborkirche | Taborstraße 17 | Berlin-Kreuzberg
Kim Cascone: Dark Stations
Hopek Quirin & Kris Limbach
Eine Veranstaltung von emitter micro mit Unterstützung von Digital in Berlin und dem Elektronischen Studio der TU Berlin.
http://emittermicro.com/events/
http://www.digitalinberlin.de/kim-cascone-dark-station-tabor-kirche-berlin-2013/
http://www.ak.tu-berlin.de/studio
Kim Cascone ist am 24.10. bei EM Hören zu Gast.
http://www.ak.tu-berlin.de/emhoeren
“Dark Stations” is a forty-two minute work utilizing Schumann resonances, Spricom frequencies, binaural and monaural beat frequencies and spatial effects to induce an altered state in the listener. The event’s structure is derived from the Fibonacci series. The audience is seated in a darkened room surrounded by a triangular array of speakers (Fig 2), in the middle is a subwoofer which completes a 3.1 multi-speaker configuration. The audience sits in the center of the triangle and is asked to meditate during the event.
After the audience closes their eyes the piece begins. A low thrumming sound emanates from the subwoofer, filling the area like sonic incense. Then, as the audience is lulled by the infrasonic glow, a pair of sinewaves appear in the front speakers; wavering, wobbling and slowly beating against one another, causing a slight phasic disorientation. These beating sinewaves are then joined by a third in the rear speaker. The room is now filled with an acoustic strobe light – creating sonic moire patterns. For the next thirty-four minutes “Dark Stations” continues in this fashion: beat frequencies appear then slowly fade into the background, bands of noise undulate like asynchronous waves in a sonic sea, frequencies skip around the room in a playful game of touch tag.
“Dark Stations” is an acoustic mirror, a reflecting pool bringing the audience’s unconscious to the surface through the technique of entrainment, allowing them to project onto the sonic gauze. “Dark Stations” could be likened to a scrying mirror into which the viewers unconscious is projected then reflected back to them. This work was inspired by my research in Jungian psychology, Hermetic philosophy, brain entrainment techniques, altered states of consciousness, meditation and a variety of other areas.
Kim Cascone has a long history involving electronic music: he received his formal training in electronic music at the Berklee College of Music in the early 1970’s, and in 1976 continued his studies with Dana McCurdy at the New School in New York City. Kim has been touring Europe since 2001 performing, conducting workshops and lecturing on post-digital aesthetics in sound art. He has released more than 50 solo and collaborative albums since 1984 and has recorded/performed with Merzbow, Keith Rowe, Tony Conrad, Scanner, John Tilbury, and Pauline Oliveros among others.
Cascone was one of the co-founders of the .microsound list which focuses on issues concerning post-digital music and laptop performance (www.microsound.org). His writing has been published in Computer Music Journal (MIT Press), Artbyte, Contemporary Music Review, Soundcultures, Parachute Journal, Junk Jet and Geometer. Cascone is on the advisory board of the sound journal Interference based in Dublin Ireland.
TU Berlin | Elektronisches Studio
Fachgebiet Audiokommunikation
Elektroakustische Musik hören ist eine Veranstaltungsreihe des Elektronischen Studios der TU Berlin. Während des Semesters jeweils donnerstags um 18:00 Uhr.
Zur freundlichen Beachtung übersandt von Volker Straebel (volker.straebel@tu-berlin.de).
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