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
recorded in the car on the truck-route from vienna to bratislava
transitliteratur is a project where small pieces of literature are placed on transit-trucks. the idea is to use trucks as mobile-media-platform. this radia programme is the auditive attempt of this idea.
during the recording of radia#66 transitliteratur our recording-team followed transit trucks on the way from vienna to bratislava. we were in contact with around 15 people via our cell-phone. by the time the car passed a truck, one of them supplied us with a small reading. the texts had been read in 8 languages (russian, serbian, italian, spanish, english, german, czech, hungarian). the whole project is in realtime and has not been edited.
enjoy the sound of the truck-route between the closest capitals in europe. not the vatikan and rome, but vienna and bratislava.
a real-time radia work by ernst reitermaier, barbara kaiser, and lale rodgarkia-dara.
Sofielseelend – a farewell-composition based on concrete sound material recorded inside Vienna´s “Sofiensäle”
contributed by ORANGE 94.0, Vienna
“Sofielseelend” is based on a series of field recordings we made earlier this winter inside the ruins of Vienna´s “Sofiensäle” [“Sofie”]. This bourgeois assembly hall was originally built in the 1840s – used as a swimming pool, concert hall, ballroom, recording studio and theatre, as a venue for political congresses and non-political clubbings. “Sofie” burned down in 2001 under still unsolved circumstances. Carelessly neglected since then, her ruins now provide a derelict picture of her past, replacing her historically-charged atmosphere with an environment of silent decay.
Not completely silent, though. Located in Marxergasse, just a few steps away from Vienna´s centre, “Sofie” represents a sonic blankspace, isolated and fenced off – nevertheless, since her walls broke down, her roof collapsed, the borders between the inside and the outside are beginning to blur. “Sofie” involuntarily opened herself to the surrounding city life, street sounds infiltrate the building, swallowed and damped.
On the one hand our field recordings aimed at capturing “Sofie´s” acoustical presence. On the other hand they are also results of us consciously intervening in her surroundings. The recording process can therefore be described as a shifting between pure documentation – leaving sounds as they are – and active intrusion – treating and instrumentalizing found objects, spaces and conditions as musical material.
Much of the recorded sound material derived from an old grand piano we discovered left behind in the former ballroom – an arduously belted setting of rusted chords and broken keys, its body full of rubble and water. In its deserted and half-destroyed state the grand piano perfectly reflected the situation in which it was embedded, unveiling an ensemble of sounds and noises, more than slightly out of tune, where every single expression seemed to comment on its very own historical background, a sonic symbol of blooming decay.
After recording we rearranged and recomposed the field recordings on the computer. “Sofielseelend” was structured more like a film – with different scenes alternating, each of them presenting one sound-family as a protagonist. A couple of texts, spoken in Englisch and German, were supplemented – all oft them referring to “Sofie”, though each from a different perspective.
Text: Lale Rodgarkia-Dara
Narrator: Wolfgang Pratl
Sound recording/editing: Maria Fuchs, Andreas Trobollowitsch, Johannes Tröndle
[jan-april 2006]
A radia contribution by Orange 94.0
This piece is made by Caroline Hofer und Barbara Kaiser, who spent some days in prague, at the art’s birthday festival. C.H. wrote every day a web based diary, translated into english by Katie Elston. Those entries build now the heart and the frame of the piece. Furthermore, live recordings are an essential part of the production: Music comes from: Michael Northam, Zum Beispiel, Jaroslav Koran, Skupia C, Ernst Reitermaier, Barbara Kaiser.
contributed by orange 94.0, vienna
greetings from vienna – acoustic postcards
how does vienna sound? what is typical and what is untypical? are there specific every-day sounds which only exist in vienna? do audible counterparts of sights exist? what does the dignity of sounds consist of? when do they become replaceable?
this radia contribution gathers sound miniatures of 17 artists, each based on an original sound recorded in vienna. artists in order of appearance: astrid schwarz, werner moebius, the zombiemouse aka karl kilian, ilse chlan, raumschiff engelmayr, johannes paul heilig, joerg piringer, lale rodgarkia-dara, arno splinks, barbara kaiser, bernhard gal, ernst reitermaier, arnold haberl aka noid, ulrich troyer, kera nagel, andré aspelmeier aka gradcom