European soccer championship – an acoustic invasion of the city. Fearing the masses and the noise. Such were the expectations – wandering around the fanzone the days before the upcoming event.
No entry – closed – under construction: The fanzone is creating deserted spaces of silence. The noise ephemeral.
A story of expectations not being met. Imagine a fanzone and no one turns up.

Authors: Michael Fischer, Caroline Hofer, Barbara Kaiser, Lale Rodgarkia-Dara, Fiona Steinert

Giza é ruh is a music-/soundethnological project by kutin peter, lercher daniel & wilding barbara

the 3 artists travelled through various places of northern india for 3 months, doing field-recordings and were always seeking for native musicians. Alltogether they recorded around 70 hours of different material .
these recordings include religious music / ceremonies by buddhist, muslim, hindu and sikh culture
traditional music & instruments from tibet, ladakh & northern india
soundscapes of the natural enviromnment and it´s animals, or the massive collage of noises from india´s capital delhi, the silence that can be found in the himalayan mountain ranges, children singing, people praying, shouting, laughing, screaming, orakels healing or telling the future
sounds and instruments used by normads that travell through the vast deserts up in the himalayan mountains, and so much more…
the following radio play, which was created for radia, focuses on music & sounds that can be found in hinuduistic and buddhistic culture. So, while the first part consits only of
hindu-sounds & music , the second part is strictly buddhistic .
on the artist´s homepage www.dirac.cc you can find more information about “giza é ruh” and even download a pdf – file which includes detailed information about the sounds appearing in the following radio-play.

elffriede, a vienna-based visual artist, has sent drawings to 34 musicians in different countries all over the world and invited them to compose 2-minutes sound-pieces inspired by the drawing. the artists worked with various instruments (computer, field recordings, electroacoustic instruments, violin, saxophone, voice, typewriter and others) and thus the styles of the sound pieces are miscellaneous.
these 34 pieces are now published on the CD ‘soundrawing’ on www.transacoustic-research.com together with a booklet, which elffriede produced in cooperation with knust/extrapool (nijmegen).

to view the drawings see http://www.elffriede.net/soundrawing (scroll down)

as second part of the interdisciplinary dialogue elffriede is now working on internet animations of her drawings in relation to the sounds. the first sound-drawing-animation can be found at: http://www.elffriede.net/soundrawing/bernadette.html

this radia show presents the following sound pieces:

robot mein / jörg piringer
vungbo / verena brückner, florian kmet
blobb / arno splinks
ping-pong / hannes raffaseder
zeitverstreichquartett / nikolaus gansterer
lines of breath / murmer
ironing / incite / kera nagel, andré aspelmeier
melting dumpling / maksims shentelevs
remember grrr / edda strobl
per_e / billy roisz
kloster melk / sergej mohntau (jürgen berlakovich, thomas pfeffer)
glasrausch / ara (arno raffeiner)
i come from texas / audun eriksen
fragment 01 / bernadette reiter

3 pieces generated by the sommerloch in vienna and st. petersburg/russia.

caroline hofer: ‚an afternoon in hietzing’/‚ein nachmittag in hietzing’

lale rodgarkia-dara: an out-take of the theater-production ‚lamputschka’, theater pokuljeni st. petersburg/ausschnitt aus dem stück ‚lamputschka’ /theater pokuleny st. petersburg

barbara kaiser: ‚bodyguard’

BriefVision is the acoustic output of Lale Rodgarkia-Dara ‘s residency in St.Petersburg, Russia, at the art centre Pushkinskaya 10.

“During my stay I construct one shortfilm every two to three weeks. They are small letters from St.Petersburg and Vienna; a construction and product of rewriting St.Petersburg and the life in Vienna, I miss during the six months residency.”

BriefVision (Brief=letter in German) and PismoVidenie in the German and Russian meaning are the antithesis to TeleVision. Though, a letter itself can be read and is mostly read several times. A letter refers to a different reception of repetition, slowness, and even solitude.

The acoustic track of these small prose-shortfilms is representing the Viennese life. This audiopart is presented in a soundinstallation at the artcentre Pushkinskaya 10 at St.Petersburg.
Whereas the video track, representing the rewritten city of St.Petersburg, is shown at a video-installation in Vienna at the Museumsquartier (0-port).

The full lenght films of BriefVision can only be seen on the virtual bridge between these two European cities, the internet (click on the TV-set on www.speis.net and choose a channel).

STRANGE AID is created with a rudimentary setup of 2 – 5 soundgenerators (which are: headphones, microphones and turntables), recorded in a broadcasting-studio this work can also be seen as a contribution to the basic research on electroacoustic music production.
The main aim of STRANGE AID is to convey electroacoustic contents via a series of radio-broadcasts where the method of producing this contents is explained live on air to the listeners. The radio shows where this happens (which Michael Fischer is doing since 1999) main contents are: improvised music, new music, ethnic music and electroacoustic music production.
The incalculability of the result of the sound production needs a high measure of the ability taking risk. Feedbacks are to a certain amount always incalculable. This challange offers on the other hand the possibility to find new musical and technical associations.
This experimentation series is not only a new defintion of a yet predisposed field (the mixing desk as connection between moderator and audience), it is also a contribution to the findings of feedback mechanisms in the electroacoustic compositional/improvisational content production, and an attempt to discuss the politico-social connotations of this method:
– Which effects do have systematic or arbitrary changings of the system parameters on the possibilities of reaction of the current systems interrelations?
– Which criterias of stability do have excalated systems?
(Michael Fischer)
http://www.wuk.at/m.fischer

you will hear the sounds of the fermentation process of the tinctura artis, an art project of the gryasnaya galerya (petersburg) at the institute for transacoustic research (vienna). very pure. nearly no language this time :-)

a collective diary of the days october 25th to october 28th 2006

written and read by
barbara kaiser, caroline hofer, elffriede, elisabeth prinz, ernst reitermaier, fiona steinert, florian kmet, herbert gnauer and lale rodgarkia dara

insprired by an idea of elffriede and joerg piringer who found an old diary on a fleamarket which contained a lot of useless informations.

the sounds you will hear in this show have been recorded in the same period of time, october 25th to 28th 2006 and come from the daily surroundings of the autors
radio cut was done by ernst reitermaier.

-media-space-society-
conference of the project radio.territories: interventions in urban space, vienna september 14th-17th 2006
based on recordings during the -media-space-society- conference and the audio-performance of reni hofmüller’s polyphonic orchestra, a small variation of memories and snipplets are cut up and newly arranged with some audio-glue.
http://conference.o94.at/
pre-cut ernst reitermaier
production lale rodgarkia-dara