This event takes place at Kastanienallee 77, Berlin-PrenzlauerBerg
http://salonbruit.org/

Mehmet Can Özer

… Der knapp 30-jährige Özer ist dabei strukturell, konzeptionell und was das sinnliche Erlebnis betrifft weiter als manche Akustiktüftler in unseren Breiten. Jörn Florian Fuchs (Wiener Zeitung)

Mehmet Can Özer was born in 1981. His professional career started when he was accepted to Bilkent University FMPA composition division with full scholarship. He’s studied composition and orchestral conducting with Bujor Hoinic. After graduating, he was accepted to Conservatoire de Géneve for both electroacoustic and intrumental composition divisions. There he’s worked with Michél Jarrell and Rainer Boesh. Later he’s studied in Zurich HMT with Gerald Bennett. In 2005 he moved to Turkey and took a job in Baskent University as a Lecturer.

He took part in the Halici-Midi Composition Competition (1998), Bourges International Electroacoustic Music Competition (2003 and 2007), received the Goethe Institute Artist Award (2006) and SWR Experimental Studio Grant (2008).

He has performed in several international festivals such as Bourges (France), AudioArt (Poland), Remusica (Kosovo), Busan Biennale (Korea), Pyramidale (Germany), Acousmania (Romania), SMC (Greece), Generator (Switzerland), Electro-Globe (Belgium), Create (USA), EMUfest (Italy), Ankara International Music Festival (Turkey), Granada Festival (Spain), Estoril Festival (Portugal), DE:Sonanz (Macedonia) and Apparat (Denmark).

Apart from being commissioned at home, he received commissions from I.M.E.B. (France), Musiques-Recherches (Belgium) and EMS (Sweeden) and has been invited from their studios to realize a piece. In 2005 he has started electroacoustic music concert series in Ankara and organized many concerts up to 2007. In 2008, he has commissioned by Goethe Institute for Ernest Lubitsch’s silent movie “The Oyster Princess” and gave improvised concerts through Turkey.

In 2009, first electroacoustic music CD in Turkey “Siyah Kalem’s Dance” has been released. In 2010, he has been commissioned by Thyssen-Bornemisza Art Contemporary (Vienna) for “The Morning Line” sound pavillon and by Visisonor Foundation(Amsterdam) for his “Siyah Kalem” project. Currently he is working on his software “Asure” and giving concerts with it. Mehmet Can Özer’s instrumental compositions also played in various places and he continues to write for both instruments and electronics. Currently he is a lecturer in Hacettepe University Ankara State Conservatory.

“Aşure” (pronounced as Ishuré) is a real time improvisational environment developed by Mehmet Can Özer. The project has different aspects in order to explore, to make research and all of them are connected with various fields such as composition, improvisation, software and hardware development, ethnomusicology, sociology, interaction between human and computer and the most important cultural exchange. Nowadays, we are faced with difficulties as far as international relations are concerned. Lack of communication and understanding we can only fight with “the other”. Consequently we are keep discriminating people. I am considering Western and Eastern Cultures as one and inseparable. During my research I learnt that, even geographically distant cultures may share the same things as well as variations of the original. Those things are called as “cultural entity”. This interdisciplinary project is going to be focused on mainly music and all the research and development process will follow the guidance of musical aims.

http://www.mehmetcanozer.com/Mehmet_Can_Ozer/Giris.html

Andre Bartetzki, geboren 1962 in Berlin, studierte Tonmeister an der Hochschule für Musik “Hanns Eisler” Berlin. Noch während des Studiums begann er dort mit der Einrichtung eines Studios für elektroakustische Musik (STEAM), das er bis 2002 leitete. 1999-2004 lehrte er am elektronischen Studio (SeaM) der Weimarer Musikhochschule und an der Bauhaus-Universität Weimar. Seit 2009 leitet er gemeinsam mit Volker Straebel das Elektronische Studio der TU Berlin am Fachgebiet Audiokommunikation. Er gab darüber hinaus Kurse zur Klangsynthese und algorithmischer Komposition u.a. an der TU-Berlin, HU-Berlin, der Hochschule für Musik und Theater Rostock, der Akademie der Künste Berlin, am Podewil Berlin, sowie an Musikhochschulen, Universitäten und anderen Einrichtungen in Bukarest, Prag, Lissabon, Seoul, Stockholm, Salzburg u.a.
Neben seiner Lehrtätigkeit arbeitet er als Programmierer, Sounddesigner und Toningenieur mit Klangkünstlern sowie Ensembles, Solisten, Komponisten und Veranstaltern im Bereich der Neuen Musik zusammen, u.a. Kammerensemble Neue Musik Berlin, Ensemble work in progress, United Berlin, Kairos Quartett, Ensembel Megaphon, William Forman, Helmut Zapf, Hanna Hartmann, Yueyang Wang, Matthias Jann, Johannes Wallmann, Miguel Azguime, Lenka Župková, Günter Heinz, Akademie der Künste, Kryptonale Berlin, Musikakademie Rheinsberg, Randspiele Zepernick, Inventionen Berlin.
Seine Software CMask für algorithmische Komposition wird weltweit verwendet und diente anderen Programmierern als Modell für eigene Entwicklungen.
Seine eigenen musikalischen und künstlerischen Projekte umfassen Klang- und Videoinstallationen, u.a. für das museum der dinge Berlin, für die singuhr hœrgalerie Berlin und wiederholt für das Randspiele-Festival in Zepernick, Tonbandmusik sowie live-elektronische Musik. Seine Musik wurde auf internationalen Festivals für Neue und Computermusik gespielt, wie z.B. Kryptonale Berlin, LAC 2007 Berlin, Pyramidale 2008 Berlin, Hörkunstfestival Erlangen 2006 und 2009, ICMC2002 Göteborg, ICMC2005 Barcelona, ICMC2007 Kopenhagen, ICMC 2008 Belfast, BIMESP 2002 São Paulo, SICMF 2003, 2004, 2005 und 2009 Seoul, Nuits d’hiver 2005 Marseille, ping! 2007 und 2008 Mallorca, ACMC 2005 Brisbane, deepwireless 2008 Toronto, emufest 2009 Rom, ElectroVisiones 2009 Mexiko. Er wurde Finalist bei Wettbewerben für elektroakustische Musik in Bourges und São Paulo. 2004 erhielt er ein Kompositionsstipendium vom ZKM Karlsruhe, 2007 ein Aufenthaltsstipendium am Künstlerhaus Lukas in Ahrenshoop, 2009 ein Aufenthaltsstipendium für Klangkunst in der Denkmalschmiede Höfgen.
Zwischen 1997 und 2004 war er Mitglied im Vorstand der Deutschen Gesellschaft für elektroakustische Musik (DEGEM) und dort u.a. für die Herausgabe der DEGEM-Mitteilungen verantwortlich.

http://www.bartetzki.de/de/index.html

http://moeslang.com/

Since 1992, ERIKM has extended the field of artistic experimentation on the international scene. Maintaining a constant fusion between thought, instinct and sensitivity, he pursues a simultaneity of practices and addresses the interplay between various compositional modes, relating to and using all languages. From his early experience as a guitarist through to his later visual work, he is a maverick genre-bender who breaks down anyone’s attempts to conveniently classify him.
Quickly recognised as a virtuoso turntablist and sound artist (1996), eRikm has made a longlife habit of crossing all territories and « world-systems » deemed “independent”, “institutional”.

Throughout his career, collaborations have naturally occurred with his audiences and contemporaries, most notably : Luc Ferrari, Christian Marclay, Akosh S., Mathilde Monnier, Bernard Stiegler, FM Einheit… The kind of coincidences which have confirmed his instinctive search for transmutation, and to play on several levels. eRikm is a Marseille based artist (Friche Belle de Mai)

www.erikm.com

DJ Pato
patooo.net

NADJA (CA/DE)

Nadja is a duo Aidan Baker & Leah Buckareff who duo began making music together in 2005, exploring sounds that encompass experimental music, drone, ambient, shoegazer, & doom metal.

Nadja will be touring in support of the forthcoming 2CD compilation Excision on Important Records.

http://www.nadjaluv.ca/

http://www.facebook.com/luvnadja

http://www.importantrecords.com/

OFF THE INTERNATIONAL RADAR (CA)

Off The International Radar is a quartet from Toronto, Canada exploring post-rock, kraut-rock, psychedelic and punk, mixed with electronic, experimental and drone.

This will be OTIR’s first European tour, in support of their forthcoming full-length.

http://www.offtheinternationalradar.com/

http://www.facebook.com/offtheinternationalradar

http://handdrawndracula.com/

PORTRAITS (DE)

Portraits is a large ensemble group with an evolving cast of musicians lead by Jefre Cantu-Ledesma (of Tarentel). Their debut release is forthcoming from Important Records and features contributions from members of Barn Owl, Tarentel, and Date Palms, among others.

Participating musicians for this evening’s performance tba.

http://soundcloud.com/jefre-cantu-ledesma/portraits-sa

http://shiningskull.com/

http://www.importantrecords.com/

The collective of Marcel Weber and Lucy Benson, MFO (vimeo.com/mfo) create and direct audiovisual performances, installations, video and image works. Intense and distinct aesthetics define their work. Concept takes priority over technique, the meaning defines the method. New and old media forms, technology and illusionary devices are employed equally. MFO aims at the subconscious over the conscious, emotion over intellect, ambiguity over well-defined.

MFO are resident visual artists for multiple event series focused on the exploration of contemporary electronic music in Berlin and internationally. Performances and installations have featured at festivals such as CTM and Transmediale (Berlin), Unsound (Krakow), TodaysArt (Den Haag), as well as various events across Europe, USA and Australia. Recent collaborations include audiovisual performances with the likes of Kode 9, Roly Porter and Oni Ayhun. Additionally MFO contributes video design to high culture productions, having worked with the Opera national de Paris, the Akademie der Künste Berlin, Sophiensaele Berlin and the Brut theatre in Vienna. Larger projects are realised with an extended network of artists, MFO seeks constantly to collaborate, inform and evolve.

Thorsten Fleisch (fleischfilm.com) was born 1972 in Koblenz (Germany). He made his first film experiments with his dad’s Super 8 camera when still in school. Later he studied experimental film with Prof. Peter Kubelka at the Städelschule in Frankfurt. Thorsten Fleisch works with digital and analogue film. With materials such as the body, crystals, fire and electricity, he worked directly on 16 mm film strips. Crystals are grown on the film and 30,000 volts burn through photo paper. The results are poetic and abstract visual systems with references to catharsis, cosmos and the universe. In 2003 Fleisch received an Honorary Mention at Prix Ars Electronica in Linz (Austria) for his computer animated film Gestalt. High voltage is the centre of his work Energie! for which he has won international acclaim. His films received several awards and were shown at festivals worldwide like: New York Film Festival, Ars Electronica, Transmediale, Ottawa International Animation Festival, Clermont-Ferrand Short Film Festival, International Film Festival Rotterdam, San Francisco Film Festival, Videoex. Among other clients he has worked for Gaspar Noé (electric titles for Enter The Void) and Basement Jaxx (live visuals for Jump and Shout). He lives and works in Berlin.

The mixed-media collective Sansculotte (sansculotte.de) will present their 2-players live video patch and talk about visions, technology, aesthetics and how to spend a lot of time building universes that fall apart 99 seconds later.

Along the way will be mentioned: pure data, glsl, digital cut-up, appropriation and information overload.

http://scopesessions.org/2012/02/01/session-11-february-9/

Concert session:

John Duncan portrays his work as a catalyst, inciting a transmission of energy through which he seeks to compel the audience to actively participate in the process of investigation and self-discovery. His lengthy career of electroacoustic intensity and confrontational performance art events is the result of rigorous investigations into a number of arcane, metaphysical, and at times transgressive themes. (Jim Haynes, The Wire)

The sonic works of John Wiese categorised as harsh noise create feelings of unease in even the most seasoned experimental music audience. They can be recognised by their constant, idiosyncratic and unpredictable changes in dynamics – from total loudness to absolute silence – and cuts between drastically different sound materials.

Eli Keszler is a composer, artist and multi-instrumentalist based in New York City. In performance, he often plays drums, bowed crotales and guitar in conjunction with his installations. In his ensemble compositions, he uses extended strings, motors, crotales, horns and mechanical devices to create his sound, balancing intense harmonic formations with acoustic sustain, fast jarring rhythm, mechanical propulsion, dense textures and detailed visual presentations.

Bill Kouligas is a sound artist, composer and designer who also runs the sound art label PAN. He has collaborated with the likes of Joseph Hammer, Destroy All Monsters, C Spencer Yeh, John Olson, Christian Weber, Chris Corsano, RLW, Kouhei Matsunaga among others.

Dirk Paesmans is a part of the Jodi collective together with Joan Heemskerk, and has since the mid-1990s been creating original artworks for the World Wide Web.

Screening session:

Raoul Hausmann
Rückblick Einblick Ausblick (1971)
22 Min.

Jürgen Eckloff
Instruction 37/57 (2008)
29 Min.

Arf Arf
Thread of Voice (1993)
19 Min.

Ludo Mich
Saturnus (1971)
25 Min.

John Duncan
Dream House – Rage Room (2010)
12.54 Min.

http://elikeszler.com/
http://folksomy.net/ytct
http://johnduncan.org
http://www.john-wiese.com
http://www.pan-act.com/
http://www.rumpsti-pumsti.com

In 1976, Hayward and fellow Radar Favourites and Dolphin Logic member, Charles Bullen began practising with bassist Gareth Williams under the name This Heat. They began to experiment with tape loops, found sounds and keyboards on several sessions (recorded from 1976 to 1978, but not released until 1979). Finally, in 1979, This Heat released their self-titled debut album. 1981′s Deceit marked the final new album from This Heat, Williams leaving just after its release.

While Bullen began working as a studio engineer, Hayward did sessions for Lora Logic, the Raincoats and Everything But the Girl before forming Camberwell Now with bassist Trefor GORONWY and tape manipulator Stephen Rickard. The trio released several albums through the Swiss Recommended label.

When Camberwell Now disbanded in 1987, Hayward embarked on a solo career which has continued to the present day. He debuted with Survive the Gesture (1987), Skew-whiff (1989) Switch on War (1991) and My Secret Alphabet (with Nick Doyne-ditmas) in 1993. In 1998, he joined Massacre with Fred Frith and Bill Laswell. Throughout the 90′s up to the present he has initiated a bewildering array of events and performances , including the widely acclaimed series Accidents + Emergencies at the Albany Theatre, Out of Body Orchestra (too much sound, not enough space, not enough time), music made from the sound of the new LABAN dance centre being built which was choreographed for the official opening, music for a circus (part of the National Theatre’s ‘Art of Regeneration’ initiative), the full-on installation/performance Anti-Clockwise (with Ashleigh Marsh and David Aylward) for multiple strobes, maze structure of diverse textures, 2 drummers, synthesizers and your nervous system. Recent developements include the Continuity evenings as part of Camberwell Arts.

BARBEROS
http://vimeo.com/9784673
http://www.postmusic.info/

Barberos are four beards, 3’293’381’278’839 hairs, four drumsticks, 23 cables, four boys who met in liverpool, originally from Sheffield, Milton Keynes, Wales and Rome. After being involved with each other in various ways and various projects for two years, they eventually came together fuelled by a passion for loud noises, hitting things and of course, spandex.

Their music has been described as math/terror/doom/jazz/electronica, with very danceable breakdowns cutting through intermittently throughout the over all technical polly rhythmical, syncopated drum-dominated noise filled performance they deliver with their line up of two acoustic drum kits, synths and live visuals. All these factors, along with the costumes they wear (head to toe white spandex bodysuits), add to the band’s very impressive overall theatrical performance, which fits perfectly both on the small, and (preferably!) the large stage.

February 2010 saw them embark on their third UK tour in a year in which they have played shows in London, Brighton, Glasgow, Edinburgh, Manchester, Stafford, Milton Keynes, Dundee, Leeds and their hometown, Liverpool. In May 2010, the band completed a 14 date European tour with Stignoise, and a futher 6 date UK tour in June. In their short career they’ve shared the stage with: Tim Exile, Dälek, Charles Hayward, Chrome Hoof, Action Beat, Take a worm for a walk week, The network, Capillary Action, aPAtT, Stignoise.

Ultraspießer
http://www.julianbonequi.com/musik/index.php/ultra-speicer
http://www.radicalmatters.com/asp/web_editions.asp

“NK a well known place for avant-garde and experimental music in Berlin was the location where Julian Percy aka Ratbag (electric guitar treatment), Anton Maiof (voice, wii & max/MSP) and Julian Bonequi (manipulated drums & voice) came together in November 2010 to play Ultra Speicer, a stunning performance which promises a deep and intense sonic trip. Leading off with hypnotic drumming, distorted guitar lines embedded in ambient sounds the album moves to ecstatic drumming combined with female and male vocals, accompanied by well placed sound collages which achieve to carry off the listener to another state of consciousness.”

June 09 / NOCTURNAL EMMISIONS / MOLOCH / LAST DOMINION LOST

July 12 / IMPROCIDE II

A three day workshop explaining how to synchronise the movement and parameters of graphics with audio. Graphics could be any kind, from computer generated ones till handmade scanned files passed through photoshop. Audio and images will combine into after effects get manipulated,synchronised and export as audio driven quicktime movies. A usage of expressions (code) will take place too, for more advanced and specific synchronisation. Participants are encouraged to develop projects which will be presented at the end of the workshop.

Day one: Basic introduction to after effects workspace, preparing images in photoshop for AE integration, basic animation techniques, Introduction to basic expressions.

Day two: Expressions Syntax, exploration of the Trapcode Sound Keys and Particular plugins, audio manipulation and transformation into moving images.

Day three: A step further into more advanced audio visualisation with participants’ own created graphics, projects presentation, thoughts and ideas about how each participants project could go a step further.

Get a small visual idea about an example output here

The workshop will be held in English.

Requirements:
* Own Computer (Mac OS X/Windows)
IMPORTANT: with an authorised Adobe after Effects cs5 version or a running Demo a trap code sound keys and Particular plugin running Demo will be provided.
The same can be downloaded here, http://www.redgiantsoftware.com/products/all/trapcode-suite/ but you can wait for install instructions.

* Basic knowledge in video editing
* Headphones

Date: February 10, 11, 12 – Time: 16:00-19:00
Maximum nr. of participants: 12

Preregistration is required and can be done by sending an email to info@nkprojekt.de. If you don’t get a response within 3 days to your registration mail please call us under +49(0)17620626386 to make sure that we have received your mail.

Location: N.K.
Elsenstr. 52 2HH 2Etage 12059 Berlin
Fee: 40 euro
Instructor Andreas Karaoulanis
http://www.bestbefore.gr/

Max is a programming language based on a graphical interface that connects sound synthesis, sampling, video and Open GL 3-D graphics, MIDI, network-communication, sensors and more. Based on a concept similar to modular synthesizers Max is relatively easy to learn and equally suitable for both small and complex projects. This workshop will focus on the music making possibilities of Max but can include working with visuals by wish of the participants. It will give an introduction to the concept of Max and show strategies for how to approach and solve problems common to beginners. No prior knowledge of Max or programming is required.
Read more about Max at http://cycling74.com/whatismax/

The workshop will be held in English and German.

Requirements:
* Own Computer (Mac OS X/Windows) IMPORTANT: with an authorised Max (latest
version), or a running Demo (download a 30-Days demo from

http://cycling74.com/downloads/).

* Basic knowledge in computer based music creation
* Headphones
* If possible bring your own MIDI Controller/Keyboard (plus iPhone/Android-based
Phone, iPad/Android-based Pad, Lemur, wii, joystick,…)

Teacher: Pure has been using Max since the last thirteen years as his main tool
for music creation. As well as being an experienced Max instructor who has
taught in Universities and Media Labs all over Europe since 2001, he is has also
released many albums with such labels as Mego, Crónica and Staalplaat. More info
about him can be found at

http://pure.test.at
http://www.heartchamberorchestra.org

Location: NK / Elsen Str. 52 (2. Hof) 2. Etage
12059 Berlin, DE
Telephone: +49 (0)176 20626386

Course Participation fee:
Max Beginners Workshop 200

Registration is required for this workshop and can only be done via
email to: info@nkprojekt.de

Please register early to ensure a place. Places are limited to 12.

For those familiar with programming, necessary code snippets are provided for common artistic programming environments like Max, Puredata, Supercollider, Processing, Open Frameworks, vvvv, Audiomulch or Quartz Composer to immediately be able to work with our sensors.

For participants working with software who don’t want to get into programming a ready-to-use software that converts the sensor data into MIDI, OSC and DMX messages will be provided. It serves as interface to virtually any music and live video software without further programming knowledge (e.g. Live, Logic, Cubase, Renoise, Reaktor, VDMX, Modul8, Resolume), to control external MIDI hardware like synths or samplers and to control stage light.
Instrumentalists with programming knowledge or in collaboration with someone with the necessary skills can develop interactive realtime scores. Dancers/performers can develop interactive sound/light/visual environments.

Participants are encouraged to develop demo pieces which will be presented at the end of the workshop.

The workshop is led by Peter Votava (Berlin) and Erich Berger who draw their expertise from years of working with the Heart Chamber Orchestra project.

The Heart Chamber Orchestra is an audiovisual performance consisting of 12 classical trained musicians and the artist duo TERMINALBEACH. Using their heartbeats, the musicians control a computer composition and visualization environment. They read and play a real-time score from laptop screens placed in front of them. More information at http://heartchamberorchestra.org

Registration for this workshop is required, please send an email with the subject line heartbeat to anything workshop to info@nkprojekt.de if you dont get a response within 3 days please call us to make sure your request did not land in the spam folder.

Dates:
Fee:120 Euros
Location: Elsenstr. 52 2HH 2Etage 12059 Berlin