It’s my great pleasure to announce the return or the Russian avant-garde, at least on air and online – unfortunately only in German, though: Today, Friday April 20 my feature “Die Medienkunst der russischen Avantgarde” will be broadcast. Therefore I had the great pleasure to talk to some terrific researchers and experts on Russian art, media and cultural history: Siegfried Zielinski, Berlin based media-archaeologist and theoretician, Sylvia Sasse, professor for Slavic literary studies at the University of Zurich, the historian and musicologist Boris Belge (Basel) and the Chlebnikov expert Andrea Hacker (Bern).
Of all the arts, music possesses the greatest power for social organization. – Arseny Avraamov
When over 100 years ago women workers in Petrograd facotries laid down their work, because they didn’t have money to buy bread for their families anymore, they finally brought about the break-through of the the Russian Revolution. It was still the beginning of the 20th century, nobody knew how devastating it would get, and so hopes were still high that a new man and a new woman would be born through the revolution. According to the Russian avant-gardists one of the most important means to accomplish this aim was sound, respectively acoustic experiments, mainly – noise.
Visiting Joyce Hinterding & David Haines in the Blue Mountains (NSW), Australia
“Like linguists turn to coding, silversmiths turn to electronics”, says David Haines. For the Australian artists it seems to be the most natural thing in the world to artistically transcend materials, media and genres. Haines, who just has been awarded the 2017 Australia Council Visual Arts Fellowship for two years, to delve further into his “abiding interest in aroma as an art form” and develop a substantial exhibition across the range of his practices, is one half of the intriguing Australian art coupleHaines & Hinterding. The other half is Joyce Hinterding, a former silversmith and nowadays an artistic expert on energies, especially on Very Low Frequency Radio Waves and Natural Radio.
During my research stay in Australia Douglas Kahn was so kind and generous to introduce me to his dear friends and neighbours Joyce and David. The couple invited me to visit them at their lovely home in the bush of the Blue Mountains to learn more about their art practices – an unexpected, spontaneous visit, which turned out to be one of the highlights of my research trip down under. After a nice spring roll lunch and some conversation we wanted to go and see some kangaroos together. However, I quickly became so fascinated by the multisensory artistic cosmos of Haines & Hinterding and our conversation lasted so long that the kangaroo visit had to be postponed.
What makes the works of Haines & Hinterding so fascinating to me is the fact that they are outstanding examples of artistic research.
Report about transnational workshop at Bournemouth University, Centre for Media History, July 6 – 7, 2017
When I presented my PhD project “Radiophonics, Noise and Understanding” at the fist workshop of the Australian-German “Transnational Media Histories” collaboration at the Centre for Media History at Macquarie University, in Sydney in February 2017, Dr Jeannine Baker asked me if I would like to join a workshop, which she and her colleague Dr Justine Lloyd were planning together with the British radio scholar Dr Kate Murphy for July in Bournemouth, UK. Its topic: Gender and transnational broadcasting. I asked her, if gender would refer exclusively to female aspects of broadcasting or if I also would be allowed to discuss the topic of my PhD about noise and radio art from a male and masculinity studies perspective. Jeannine liked the idea and so I got invited to participate in, and to present at, a very fruitful and inspiring international, two-day workshop at the Centre for Media History at Bournemouth University.
When I eventually dared to contact Douglas Kahn and kindly asked him for an interview, he was very friendly and generous and invited me to visit him at his home in Katoomba, a cozy little town at the fringe of the overwhelming, scenic Blue Mountains Nation Park, about two hours by train west of Sydney.
After I had read „Wireless Imagination“ and „Noise Water Meat“ with great benefit for my own research on the epistemology of radio art, I turned to „Earth Sound Earth Signal“, which left me behind quite a bit baffled at first. At the same time I developed the hunch that this book is about something really fascinating, mind-blowing. And as I like challenges, I kept coming back to it, over and over again. One sentence, which had struck me in particular, was „Radio was heard before it was invented and it was broadcast before it was heard.“ Therefore I asked Doug at the beginning of our interview, if he would be so kind to explain this phenomenon, which is called „natural radio“. You can listen to the interview dubbed in German here, and you can read it below in English. This is what Doug answered: Weiterlesen →
When I met Colin Black for the first time in June 2014 at the Radio as Art Conference in Bremen it made a strong impression on me when one evening this tall, slim man with shoulder-length blond hair from Australia looked up to the German sky and wondered whispering to himself: „Oh, this is how the moon looks like up here.“ Since then I was longing so much to go to Australia someday to find out how the moon looks like Down Under.
Of course the moon was not the only reason I very much wished to travel to Australia. Like Canada this huge country on the other side of the planet has an amazing radio research and radio art scene and as a radio art reseacher I of course wanted to find out more about the reasons why this is so.
The novel Infinite Jest by David Foster Wallace (1962 – 2008) was published in 1996 and is regarded as a masterpiece of US-American literature. Like no other writer of his generation David Foster Wallace knew the Oxford English Dictionary by heart, was highly educated and could mimic various linguistic styles perfectly. Thus his book became not only an encyclopedic novel with 388 endnotes, some of which stretching themselves even over pages. The novel also displays a huge arsenal of figures, each of them speaking more or less in a unique way.
Did you ever have to dump books at an airport due to excess luggage after a long trip with many souvenirs? I just had. Awful expirience. Almost like dismissing friends. But despite having gone more and more digital after I participated as a student in last year’s first run of the terrific Massive Open Online Course (MOOC)Literature in the Digital Age, I still brought three paperbacks with me on my 10-weeks-research trip to Australia.
I did it because I still and always will love the feeling of having „book-books“ around me. They look, feel and smell nice, they never run out of batterie and they are just a lovely companion on any kind of lonesome trip. And yet they can become quite bothersome or even an obstacle if you have to travel or move a lot, especially in globally connected, flexible and racy times like ours.
For situations like these an ebook reader is certainly a great alternative, although no substitute, if you ask me. But „literature in the digital age“ is so much more than only reading or writing a text on an electronical device. As the lead educator Philipp Schweighauser explains in this interview very nicely, the reading strategies of „social reading“ and „distant reading“ are just two of various examples how digital technology challenges literature and books nowadays.
In this MOOC Philipp Schweighauser, Professor of American and General Literatures at the University of Basel (Switzerland), will take you on a six week journey through the world of literature in evolution. Together with my colleagues I will be one of the four mentors of this course and it would be my pleasure to attend you on this trip. You can join anytime but it is most fun to start in Week 1 with most of the other participants from all over the world. Just have a look!
This city portrait is mainly told by the means of electric static, by noises that the human ear normally cant’t perceive. Christina Kubisch is well-known for developing her very special head phones which make it possible to discover the un-hearable side of modern cities and environments in the context of her performances and so-called Electrical Walks.
Being a great fan of Christina Kubisch’s work I of course went to the arward ceremony. Asked how she came up with the idea if portraiing Las Vegas this way, Christina Kubuch just replied: „Oh, I married there once.“ Listening to Desert Bloom I venture to say: It was definitely worth it…. Congratulations to all the artists!