Overlapping Discrete Boundaries Asia tour


Overlapping Discrete Boundaries – ASIA
The project will be developed during two phases in which will be explored several Asian cities. Alessandro Carboni, Dickson Dee and Laing Guo Jian will work in each city producing a multiform research using performance, installation, sound and video live set. Alessandro Carboni will use th “Urban proximity detector created in collaboration with Riccardo Mantelli. The research metarial will be re-combined and re-modulated those material in different interdisciplinary format.

Concept, performance, object-media base and video | Alessandro Carboni
Sound and music | Dickson Dee
Documentation | Laing Guo Jian
Urban proximity detector and software development | Riccardo Mantelli
Contributor for research | Elisa Poli | Wallace Chang (School of Architecture of Hong Kong )
Producer | Noise Asia (Hong Kong)
Co-procucer | Associazione Culturale Ouroboros (Italy)
Support | Fabbrica Europa – Firenze (Italy) LaDU/Lab. of Urban Density – Faculty of Architecture- Cagliari (Italy) | D3D_Master Didital Environment_NABA (Italy) | Abitare (Italy) | Newbleep MediaLab – Aosta (Italy)

ASIA – fase 1: 23/02 – 31/03
Foshan – Art Center Ninliho Gallery | Shenzhen – Dawang Culture Highland Shenzhen | Kuala Lumpur – Switch ON / Kuala Lumpur Performing Arts Center | Singapore – Osage Gallery | Ho Chin Ming – Youth Center | Hanoi – Giang Vo Exhibition Center / Hanoi Sound Stuff Festival

ASIA fase 2: December 2010
Macau | Seoul | Tokyo | Bangkok | Hong Kong | Taipei

http://www.overlappingdiscretecityboundaries.com

olaf hochherz+dickson dee live in Dawnag Culture Highland/Shenzhen

4thdec DW
4th December
Time: 8:00pm
Free Ticket
Venue: Dawang Culture Highland 深圳大望文化高地
contact: [email protected]

地点：深圳大望文化高地现代艺术中心 AB馆
深圳市罗湖区望桐路新田仔工作站往里一千米」

公车路线：
211路至大望小学
243路至大望村

Olaf Hochherz 奥拉夫·哈尔兹
　　奥拉夫·哈尔兹出生于1981年，德国乌帕塔尔。他是一个作曲家和即兴演奏者。他通过合成器和电脑的实验，而发现了自己的音乐方向。在专注于作曲和
电子原音音乐几年之后，他回到了即兴。

他使用简单的电子设备，或电脑。他喜欢不稳定的系统。他对周遭环境与音乐之间，声音与联系之间的听觉活动充满兴趣。他主要生活在柏林。

olaf hochherz is born 1981 in wuppertal/germany he is a composer and improviser. he started as an autodidact in electroacusic music. During his youth he was experimenting with synthesizers and computers as a sound source, his first attempts to experimental music where improvisations with a laptop. his studies where to a certain degree related to his music. he studied at folkang-hochschule essen electronic composition, at humbold-university berlin philosophy and computer-science, at bauhaus-university weimar, mediengestaltung. currently he is in shanghai,china supported by the daad (german academic exchange service). the studies in essen and weimar made some compositions of electro acoustic music possible, some of them are published on cd: pets 2006 on naivsuper and ornithology 2009 on themepark.

parallel to his studies which lead him more to composition and works for films, he investigated the possibilities to improvise. he started to improvise in 2000 trying to use his computer, during this time he was not really satisfied with the way of controlling a computer. In 2006 inspired by works of lee kwang goh and robin minard he found a way to use an electronic setup as an instrument. a combination of piecoelectric contact microphones and speakers. the instrument is based on the feedback between the microphones and the speakers. this instrument caught his interest because he don’t need to formalize the controlling parameters. it is a unstable system which allows him to play in an indirect way. the goal is not to control a technical aperture but to create an associative field. he cooperated with musicians like christoph irmer, lee kwang goh, tim blechmann, mattin, ignaz schick, marcel tuerkowski, bernd haepfner, shingo inao and seiji morimoto. he played concerts mostly in berlin, he has visit vienna, seoul, leipzig. His compositions where played in berlin, essen, karlsruhe, koeln and weimar. the collaboration with lee kwang goh which had a major influence on his improvisation is documented on a cdr released on the label: herbal international live action. the cd tropoi developed under the influence of the improvisation its sounds are improvised but the transformed afterwards. his last composition (“hoffnungstraeger”) lead him to questions of form in electroacustic concert music.

currently he work again on a computer based instrument. the interface of a computer lead him to questions of categorization of sounds or more general to the question of thinking sounds as continuous stream or as distinct elements (in a set of possibilities).

www.shwobl.de
www.myspace.com/hochherz

Dickson Dee (李劲松)

李劲松是世界实验音乐圈最活跃的香港名字，他身兼制作人、作曲家、声音艺术家、厂牌创始人、组织者、策划人，以不同名字以及成型的多支乐队演出：”DJ Dee”用于电子实验音乐，”Li Chin Sung李劲松”用于具象音乐和前卫，”PNF”用于工业噪音，”Li Chin Sung & Khoomii Sound Machine呼麦声音机器”用于电子世界爵士，”Dickson Dee”用于电子
原音和采样拼贴。1996年，李劲松的首张个人专辑”PAST”由美国Tzadik厂牌发行。10多年来，李劲松出现在中国和世界各地，通过唱片出版和 实验音乐创作，参与了众多重要的音乐
活动，对大陆前卫音乐／声音场景的发展尤有贡献。近年来进行了大量的声音创作和表演，积极参与到国际声音艺术场景中。

www.dicksondee.com/blog
www.myspace.com/dicksondee

Noise & Capitalism

screen-capture-85

Noise & Capitalism

Publisher: Arteleku Audiolab (Kritika series), Donostia-San Sebastián (Gipuzkoa)

Publication date: September 2009.

ISBN: 978-84-7908-622-1

Contributors: Ray Brassier, Emma Hedditch, Matthew Hyland, Anthony Iles, Sara Kaaman, Mattin, Nina Power, Edwin Prévost, Bruce Russell, Matthieu Saladin, Howard Slater, Csaba Toth, Ben Watson.

Editors: Mattin & Anthony Iles

‘Noise’ not only designates the no-man’s-land between electro-acoustic investigation, free improvisation, avant-garde experiment, and sound art; more interestingly, it refers to anomalous zones of interference between genres: between post-punk and free jazz; between musique concrète and folk; between stochastic composition and art brut. – Ray Brassier

This book, Noise & Capitalism, is a tool for understanding the situation we are living through, the way our practices and our subjectivities are determined by capitalism. It explores contemporary alienation in order to discover whether the practices of improvisation and noise contain or can produce emancipatory moments and how these practices point towards social relations which can extend these moments.

If the conditions in which we produce our music affects our playing then let’s try to feel through them, understand them as much as possible and, then, change these conditions.

If our senses are appropriated by capitalism and put to work in an ‘attention economy’, let’s, then, reappropriate our senses, our capacity to feel, our receptive powers; let’s start the war at the membrane!

Alienated language is noise, but noise contains possibilities that may, who knows, be more affective than discursive, more enigmatic than dogmatic.

Noise and improvisation are practices of risk, a ‘going fragile’. Yet these risks imply a social responsibility that could take us beyond ‘phoney freedom’ and into unities of differing.

We find ourselves poised between vicariously florid academic criticism, overspecialised niche markets and basements full of anti-intellectual escapists. There is, afterall, ‘a Franco, Churchill, Roosevelt, inside all of us…’ yet this book is written neither by chiefs nor generals.
Here non-appointed practitioners, who are not yet disinterested, autotheorise ways of thinking through the contemporary conditions for making difficult music and opening up to the willfully perverse satisfactions of the auricular drives.

The distribution of this book is going to be done by trading:

If you are an artist, musician, writer or engage in any creative activity, we would very much appreciate that you send a sample of your work as a form of exchange for the book. Otherwise you can write a critical response to the book and send it to Arteleku.

If you are a distributor or a label or a publisher and you want to get copies of the book for distribution, you can send single copies of different books, zines or records in exchange and Arteleku will send you copies of the book in return.

Any material sent to Arteleku will become part of Arteleku’s library and people will have free access to this material.

Post: Arteleku, Kristobaldegi 14 (o nuevo P. Ainzieta), Loiola Auzoa, 20014 Donostia – San Sebastián (Spain).
Email: [email protected]

Arteleku might take some time to reply and to send the books but they will do it as soon as they can.

This book can be downloaded as a PDF file:

http://www.arteleku.net/audiolab/noise_capitalism.pdf

Spanish and Basque editions of this book will be published in early 2010.

Upcoming presentations:

20 November
Noise & Capitalism at Piksel Festival Bergen
15:30-16:15 Bergen Kunstmuseum/Stenersen
Room Audiotoriet
http://www.arteleku.net/audiolab/noise_capitalism.pdf
Piksel Festival
Bergen

24 & 25 November
Noise & Capitalism reading group at CalArts
4pm – 8pm
1st day:
Genre is Obsolete by Ray Brassier
Towards a Social Ontology of Improvised Sound Work by Bruce Russell
2th day:
Prisoners of the Earth Come Out! Notes Towards ‘War at the Membrane’ by Howard Slater
Anti-Copyright: Why Improvisation and Noise Run Against the Idea of Intellectual Property by Mattin
Herb Alpert School of Music at CalArts
(california institute of the arts)
http://music.calarts.edu/
All welcome

27 November
Noise & Capitalism presentation and discussion
7pm,16 Beaver
16 Beaver Street
4th & 5th Floor
New York, NY 10004
http://www.16beavergroup.org/

2010

11 January
Noise & Capitalism discussion Alan Courtis & Mattin
Instituto Cervantes
Bryggarg. 12 A
11121 Stockholm, Sweden
http://www.cervantes.se/

24-25 February
Noise & Capitalism: Undoing, Understanding and Sharing Time Together
(Emma Hedditch, Anthony Iles, Howard Slater & Mattin)
26 February
Performance/experiment Emma Hedditch, Anthony Iles, Howard Slater & Mattin
Kill Your Timid Notion Festival
Dundee, Scotland

Desetxea net-label
w.m.o/record label
Free Software Series

News & Gigs
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Discography
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Projects:
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La Grieta
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DEFLAG HAEMORRHAGE / HAIEN KONTRA
Links:
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