Podcast appearances and mentions of Christina Kubisch

A lo largo de las temporadas de La Casa del Sonido dedicamos programas especiales a propuestas artísticas y de investigación inspiradas, impulsadas y desarrolladas por mujeres que llamamos Chamanas. Introducimos estos programas con la extraordinaria voz de Fátima Miranda en su creación CHAMA CHAMANA MANÁ que se convierte en nuestra particular sintonía para estos programas especiales. A lo largo de los últimos años nos han acompañado mujeres extraordinarias, Usue Ruiz Arana, Carmen García Sánchez, Susana Moreno, Karmele Herranz, Elia Torrecilla, Susana Jimenez Carmona, Monica Gracia, Rosa Díaz Mayo, Perla Olivia Rodriguez Reséndiz, Rosana Rubio-Hernandez, Maria Jesús Lopez Lorenzo, María Auxiliadora Galvez, Irene Sorozabal, Mara Sánchez, Marisa Manchado, Darya Von Webern y muchas más. Os invitamos a re-escucharlas en nuestros podcast de La Casa del Sonido. En el programa de hoy escuchamos obras de Fátima Miranda, Beatriz Ferreyra, Liza Lim, Christina Kubisch y Denise García.Escuchar audio

Ivana Ilic | Music Theory, Emory UniversityJasna Veličković | Composer and Performer"How Do We Know It's Music? On Musical Capacities of the Electromagnetic Field" What happens when the electromagnetic signal is not only deliberately made audible, but also exploited with a specifically musical aim? In this presentation, I investigate the distinctively musical use of electromagnetism in art from the 1960s until the present day. The two case studies include the works by Christina Kubisch (b. 1948) and Jasna Veličković (b. 1974). While the two artists share a commitment to a modernist quest for new sounds, they investigate the musical capacities of the electromagnetic field in distinctive ways. Kubisch operates primarily as a sound artist, within the audio-visual realm. Her installations include induction coils whose sounds are picked up by the visitors through specially designed headphones. The “musicality” of those works arises from the visitors' movement within the exhibition space and appears as a completely individual and internalized event. As a composer, she also “finds” music in the sounding of electromagnetic fields that she explores in various places throughout the world. Veličković works from a predominantly auditory perspective. Her unambiguously musical creative process assumes both the compositional application of interference and its inclusion in a purposefully musical performance. The two artists' approaches meet in an embodied reality of an intense and unique musical experience.

Su aceptación para la Historia del Arte es complicada: la arquitectura de museos y salas no está concebida para la experiencia de escucha. Comprende instalación sonora, escultura interactiva, poesía experimental, fonografía, y sobre todo, la prevalencia de la escucha y el sonido sobre el hecho artístico._____Has escuchadoDedicatorias. Infinito Infinity (19/5/2013-10/11/2014) / José Iges. María de Alvear World Edition (2016)El ojo del silencio / José Antonio Sarmiento. [Grabación de la acción e instalación sonora para 100 radio transistores]. Centro de Creación Experimental (2000)Guitar Drag / Christian Marclay. [Banda sonora del vídeo Guitar Drag, 2000. Grabado en San Antonio, Texas, el 18 de noviembre de 1999]. Neon (2006)Irregularity / Homogeneity: Emerging from the Perturbation / Minoru Sato. [Instalación sonora]. Senufo Editions (2012)Magnetic Flights (2007) / Christina Kubisch. [Instalación sonora]. Important Records (2021)Motores / Isidoro Valcárcel Medina. [Obra sonora]. Ediciones sonoras experimentales; Radio Fontana Mix (1973)Small Music. Musik für einen fast leeren Raum / Music for an almost Empty Space (Edition VIII) / Rolf Julius. [Instalación sonora]. Autoedición (1998)_____Selección bibliográficaADEN, Maike (ed.), Disonata: arte en sonido hasta 1980. Museo Nacional Centro de Arte Reina Sofía, 2020ÁLVAREZ-FERNÁNDEZ, Miguel, “Panorama del arte sonoro y la música experimental en la península ibérica”. En: Experimentaclub Limbo: proyecto iberoamericano de intercambio artístico y cooperación cultural. Editado por Jorge Haro y Javier Piñango. Experimentaclub LIMbO (2010), pp. 54-64—, “Sonido, musicología, archivo: tres genealogías (hacia un catálogo de arte sonoro)”. Boletín DM, año 16 (2012), pp. 62-69*ARIZA, Javier, Las imágenes del sonido: una lectura plurisensorial en el arte del siglo XX. Universidad de Castilla-La Mancha, 2003*ASHER, Michael, Writings 1973-1983 on Works 1969-1979. Editado por Benjamin H. D. Buchloh. Press of the Nova Scotia College of Art and Design; The Museum of Contemporary Art, 1983*BARBER, Llorenç y Monserrat Palacios, La mosca tras la oreja. De la música experimental al arte sonoro en España. Fundación Autor, 2009*COSTA, José Manuel (ed.), ARTe SONoro. La Casa Encendida, 2010*CUYÁS, José Díaz, Carmen Pardo y Esteban Pujals (eds.), Encuentros de Pamplona 1972: fin de fiesta del arte experimental. Museo Nacional Centro de Arte Reina Sofía, 2009*DE LA MOTTE-HABER, Helga, Matthias Osterwold y Georg Weckwerth (eds.), Sonambiente Berlin 2006. Kehrer Verlag, 2006DEWEY, Fred et al. Brandon Labelle: Overheard and Interrupted. Les Presses du Réel, 2016*ESPEJO, José Luis (ed.), Escucha, por favor: 13 textos sobre sonido para el arte reciente. Exit Publicaciones, 2019*ESPEJO, José Luis y Óscar Martín (eds.), Ursonate: revista de arte sonoro y culturas aurales (2011-)*ETIENNE, Yvan, Bertrand Gauguet y Matthieu Saladin (eds.), “De l'espace sonore = From Sound Space”. TACET: Sound in the Arts, n.º 3 (2014)FONTÁN DEL JUNCO, Manuel, José Iges y José Luis Maire (eds.), Escuchar con los ojos. Arte sonoro en España, 1961-2016. Fundación Juan March, 2016*GARCÍA FERNÁNDEZ, Isaac Diego, Conversaciones en Nueva York: sobre arte sonoro, música experimental e identidad latina. EdictOràlia, 2020*GRANT, Jane, John Matthias y David Prior (eds.), The Oxford Handbook of Sound Art. Oxford University Press, 2021*HEGARTY, Paul, Noise/Music: A History. Continuum, 2007*—, Rumour and Radiation: Sound in Video Art. Bloomsbury, 2015*IGES, José et al., MASE. Historia y presencia del Arte Sonoro en España. Bandaàparte Editores, 2015*—, “Dimensión sonora de la escritura”. Arte y Parte, n.º 117 (2015), pp. 8-27*—, Conferencias sobre arte sonoro. Árdora Ediciones, 2017*JIMÉNEZ CARMONA, Susana y Carmen Pardo, “Aperturas y derivas del arte sonoro”. Laocoonte: revista de estética y teoría de las artes, n.º 8 (2021), pp. 49-56JOSEPH, Branden W., Beyond the Dream Syndicate: Tony Conrad and the Arts After John Cage. Zone Books, 2008*JOY, Jérôme y Peter Sinclair, Locus Sonus: 10 ans d'expérimentations en art sonore. Le Mot et le Reste, 2015*KAHN, Douglas, Noise Water Meat. A History of Sound in the Arts. The MIT Press, 1999*KELLY, Caleb (ed.), Sound. Documents of Contemporary Art. The MIT Press, 2011*KIM-COHEN, Seth, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. Continuum, 2009*KOTZ, Liz, Words to Be Looked At. Language in 1960s Art. The MIT Press, 2007*LABELLE, Brandon, Background Noise. Perspectives on Sound Art. Bloomsbury, 2006*—, “Short Circuit: Sound Art and The Museum”. Journal BOL, n.º 6 (2007), pp. 155-175—, Acoustic Territories: Sound Culture and Everyday Life. Continuum, 2010*LABELLE, Brandon y Christof Migone (eds.), Writing Aloud: The Sonics of Language. Errant Bodies Press, 2001*LICHT, Alan, Sound Art: Beyond Music, Between Categories. Rizzoli International Publications, 2007*MADERUELO, Javier, “The Book of i's, de José Luis Castillejo”. Arte y Parte, n.º 108 (2013), pp. 98-115*MAIRE, José Luis, “Documentar el sonido: consideraciones sobre la documentación musical, la música experimental y el arte sonoro”. Boletín DM, año 16 (2012), pp. 73-84*—, “Espacio resonante e instalación sonora: Robert Morris, Michael Asher, Bill Viola, Terry Fox”. Arte y Parte, n.º 117 (2015), pp. 64-85*MOLINA ALARCÓN, Miguel, “El arte sonoro”. Itamar: revista de investigación musical: territorios para el arte, n.º 1 (2008), pp. 213-234*MUNÁRRIZ, Jaime (ed.), Encuentros sonoros: música experimental y arte sonoro. Facultad de Bellas Artes, UCM, 2021*NEUHAUS, Max, Max Neuhaus. Sound Works. Cantz Verlag, 1994*PARDO, Carmen, “Avatares de la ciudad musical”. Quodlibet: Revista de Especialización Musical, n.º 68 (2018), pp. 64-78*ROCHA ITURBIDE, Manuel, “La curaduría, el arte sonoro y la intermedia en México”. Itamar: revista de investigación musical: territorios del arte, n.º 5 (2019), pp. 162-186*SALADIN, Matthieu (ed.), “Sounds of Utopia = Sonorités de l'utopie”. TACET: Sound in the arts, n.º 4 (2015)*SARMIENTO, José Antonio, La música del vinilo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2010*SEIFFARTH, Carsten, Carsten Stabenow y Golo Föllmer (eds.). Sound Exchange: Experimentelle Musikkulturen in Mittelosteuropa = Experimental Music Cultures in Central and Eastern Europe. Pfau, 2012SOLOMOS, Makis, Exploring the Ecologies of Music and Sound: Environmental, Mental and Social Ecologies in Music, Sound Art and Artivisms. Routledge, 2023*TOOP, David, Inflamed Invisible: Collected Writings on Art and Sound, 1976-2018. Goldsmiths Press, 2019*VOEGELIN, Salomé, Listening to Noise and Silence. Towards a Philosophy of Sound Art. Continuum, 2010*WANG, Jing, Half Sound, Half Philosophy: Aesthetics...

Eine gigantische rote Wolke ist ab dem 15. März im Museum für Neue Kunst in Freiburg zu sehen. Sie besteht aus etlichen Kabeln und stammt von Christina Kubisch. In der Ausstellung sind zudem Glocken zu sehen, aber nicht zu hören. Ein Teil der Ausstellung findet also in den Köpfen statt. Warum man auch mit den Augen hören kann, erklärt Direktorin Christine Litz im Gespräch.

En 1945 apenas quedan las ruinas de esta ciudad alemana. Quizás por ello es el lugar adecuado para recuperar, desde sus cenizas, la expresión de potencia y relevancia de la música que, durante una larga década, ha soportado la represión censora del régimen nazi._____Has escuchadoDarmstadt Aural Documents, Box 1, Composers-Conductors. Concerto per pianoforte e orchestra (1959) / Bruno Maderna. David Tudor, piano; Frankfurt Radio Symphony Orchestra; Bruno Maderna, director. NEOS (2010)Darmstadt Aural Documents, Box 1, Composers-Conductors. Continuo (1974) / Ernstalbrecht Stiebler. Hans Deinzer, clarinete; Klaus Thunemann, fagot; Kurt Schwertsik, trompa; Armin Rosin, trombón; Hubert Mayer, viola; Gaby Schumacher, violonchelo; Ernstalbrecht Stiebler, director. NEOS (2010)Darmstadt Aural Documents, Box 4, Pianists. Enchiridion 2. Teil “Exerzitien”. Ostinato / Bern Alois Zimmermann. Yvonne Loriod, piano. NEOS (2016)Darmstadt Aural Documents, Box 4, Pianists. Identikit (divertimento) for Five Pianists (at One Piano) and Tapes (1974) / Christina Kubisch. David Arden, Marek Mietelski, Davide Mosconi, Carlos Pellegrino, Werner Füsser, piano. NEOS (2016)Darmstadt Aural Documents, Box 4, Pianists. Klavierstück XI (1956) / Karlheinz Stockhausen. Intérpretes: David Tudor, piano. NEOS (2016)Darmstadt Aural Documents, Box 4, Pianists. Passacaglia (1936) / Stefan Wolpe. David Tudor, piano. NEOS (2016)_____ Selección bibliográficaBEAL, Amy C., “Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956”. Journal of the American Musicological Society, vol. 53, n.º 1 (2000), pp. 105-139*CÉLESTIN, Deliège, Cinquante ans de modernité musicale: de Darmstadt à l'IRCAM: contribution historiographique à une musicologie critique. Mardaga, 2003*ERWIN, Max, Herbert Eimert and the Darmstadt School: The Consolidation of the Avant-Garde. Cambridge University Press, 2020FOX, Christopher, “British Music at Darmstadt 1982-92”. Tempo, n.º 186 (1993), pp. 21-25*IDDON, Martin, “Darmstadt Schools: Darmstadt as a plural phenomenon”. Tempo, vol. 65, n.º 256 (2011), pp. 2-8*—, New Music at Darmstadt: Nono, Stockhausen, Cage and Boulez. Cambridge University Press, 2013*—, “Spectres of Darmstadt”. Tempo, vol. 67, n.º 263 (2013), pp. 60-67*IVERSON, Jennifer, “Statistical Form amongst the Darmstadt School”. Music Analysis, vol. 33, n.º 3 (2014), pp. 341-387*JONES, Stephanie, “Darmstadt: the ‘Artistic Laboratory'”. Tempo, vol. 69, n.º 271 (2015), pp. 66-68*ORAM, Celeste, “Darmstadt's New Wave Modernism”. Tempo, vol. 69, n.º 271 (2015), pp. 57-65*ROSS, Alex, El ruido eterno. Seix Barral, 2009*WILLIAMS, Alastair, “New Music, Late Style: Adorno's ‘Form in the New Music'”. Music Analysis, vol. 27, n.º 2-3 (2008), pp. 193-199ZUPKO, Ramon, “Darmstadt. New Directions”. Perspectives of New Music, vol. 2, n.º 2 (1964), pp. 166-169* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Giga-Hertz-Preis 2021 | Preisverleihung [27.11.2021] Seit 2007 vergeben ZKM und SWR EXPERIMENTALSTUDIO den Giga-Hertz-Preis für elektronische Musik. Auch 2021 werden die Preisträger:innen im Rahmen eines zweitägigen Festivals geehrt. Christina Kubisch, geboren 1948 in Bremen, gehört zur ersten Generation der Klangkünstler:innen. Nach Studienaufenthalten in Deutschland, der Schweiz und in Italien lebte sie bis 1987 in Mailand. Als ausgebildete Flötistin und Komponistin trat sie schon früh mit Projekten im Schnittfeld von bildender Kunst, Medien und Musik in Erscheinung. In den 1970er Jahren zählten dazu vor allem genderkritische Performances sowie eine Reihe von »Video-Concerts«, die in Kollaboration mit dem italienischen Künstler Fabrizio Plessi entstanden. Seit Beginn der 1980er Jahre folgten raumbezogene Klanginstallationen mit magnetischer Induktion und anderen selbstentwickelten audiovisuellen Mitteln. Mitte der 80er Jahre fing sie damit an, Licht als zusätzliches Medium in ihre Arbeiten mit einzubeziehen. Es entstanden großformatige Installationen, die visuelle und akustische Elemente zu einer neuen Einheit verbinden. 2003 begann Kubisch mit der Arbeit an ihrer Serie »Electrical Walks«, bei der das Publikum bei Klangspaziergängen im öffentlichen Raum mit eigens dafür entwickelten Kopfhörern die es umgebenden elektromagnetischen Felder hören kann. Die »Electrical Walks« wurden inzwischen weltweit realisiert. Kubisch erstellt seitdem auch ein umfassendes Archiv elektromagnetischer Klänge, die oft als Grundlage ihrer Kompositionen dienen.

Giga-Hertz-Preis 2021 | Vortrag [28.11.2021] Seit 2007 vergeben ZKM und SWR EXPERIMENTALSTUDIO den Giga-Hertz-Preis für elektronische Musik. Preisträgerin des Jahres 2021 ist die Klangkünstlerin Christina Kubisch, die den mit 10.000 Euro dotierten Hauptpreis für ihr pionierhaftes Lebenswerk erhält. Christina Kubisch über ihr künstlerisches Gewordensein, das Ende der 1960er Jahre als Studentin der Malerei und als Flötistin begann. Im Vortrag beleuchtet sie ihre Leidenschaft, Verborgenes durch Technologie sichtbar zu machen, ihr Faszinosum für Räume und Örtlichkeiten sowie ästhetische Weggabelungen, die sie zu Ihrer heutigen multimedialen Kunst führten.

Giga-Hertz-Preis 2021 | Konzert [28.11.2021] Seit 2007 vergeben ZKM und SWR EXPERIMENTALSTUDIO den Giga-Hertz-Preis für elektronische Musik. Preisträgerin des Jahres 2021 ist die Klangkünstlerin Christina Kubisch, die den mit 10.000 Euro dotierten Hauptpreis für ihr pionierhaftes Lebenswerk erhält. Moderation: Ludger Brümmer »Speak & Spell«, (1983) »Homage with Minimal Disinformation«, (2006) »Night Flights«, (1986) »Bewegungen nach entfernten Orten«, (2010) »Armonica«, (2006) »Schall und Klang«, (2017) »Undercurrents«, (2018) »Travelling Voices / Viaggio 3«, (2021) »Transit Journeys 1«, (2021)

'Nada pode Ficar' em destaque no doclisboa; estreia de Kubisch em Portugal com 3 instalações sonoras em Serralves; apresentação de Womex.

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Let's Go Swimming (Walter Gibbons Mix) by Arthur Russell on Let's Go Swimming (Audika) 5′38″ Cat Counterpoint by Elodie Lauten on Piano Works Revisited (Unseen Worlds) 9′29″ Equal Temperament Fender Mix by Catherine Christer Hennix on Selected Early Keyboard Works (Empty Editions) 21′34″ Memory and Desire by Laura Cannell on The Earth with Her Crowns (Brawl) 27′27″ Burned by Patrick Belaga on Blutt (PAN) 30′14″ Continental Drift by Matt LaJoie on Pan-Gaia (Flower Room) 40′15″ Greenways by Áine O'Dwyer and Graham Lambkin on Green Ways (Erstwhile Records) 46′26″ Ocigam Trazom by Christina Kubisch on Mono Fluido (Important Records) Check out the full archives on the website.

In this episode from the mini-series focused on sound, media, and art, Caitlin Woolsey (Manton Postdoctoral Fellow in the Research and Academic Program at the Clark Art Institute) speaks with Christina Kubisch, a pioneer of sound art. Trained as a composer and flautist, since the 1970s Christina has worked with techniques like electromagnetic induction to realize her experiential installations. In this conversation, Christina describes growing up in postwar Germany, her formative training in music and painting, and her re-invention of technology within her artistic practice. She also reflects on how her experiences in the world of experimental music (among the likes of John Cage and Pauline Oliveros) have informed the sound works and “Electrical Walks” in cities around the world for which she is known today.

Desde el pasado 14 octubre, y hasta el 11 enero del 2021, el Museo Nacional Centro de Arte Reina Sofía (Madrid) acoge, en la tercera planta de su Edificio Sabatini, una amplia exposición titulada "Audiosfera. Experimentación sonora 1980-2020". El comisario —y, en cierto sentido, gran protagonista— de la exposición, Francisco López, escribe que ésta “(…) propone cubrir un vacío histórico y cultural en cuanto al reconocimiento, exposición y análisis de una parte esencial de los cambios recientes que se han dado en la concepción artística de la creación sonora”. Ahora bien, tal y como argumentamos en esta edición de Ars Sonora, podría afirmarse que, en realidad, “Audiosfera” apenas proporciona elementos de análisis que permitan valorar apropiadamente ni las obras presentadas en la exposición (nada menos que 728 en total), ni en consecuencia esos cambios a los que se refiere López. En un sentido similar, tampoco es fácil entender por qué el comisario afirma que su exposición ha sido “(c)oncebida desde una perspectiva social, con el objetivo de revelar y proporcionar un contexto para la reflexión y discusión sobre los cambios tecnoculturales ocurridos desde la década de 1980”, cuando ese contexto interpretativo, según explicamos en el programa, ha sido reducido al máximo en lo que respecta a cada una de las obras, lo cual disminuye en igual medida las posibilidades de la reflexión a la que alude explícitamente Francisco López. No queda claro, finalmente, qué se quiere decir exactamente cuando se habla de que la exposición ha sido “concebida desde una perspectiva social” —si bien esta cuestión será más detenidamente examinada en la próxima edición de Ars Sonora, que también estará dedicada a esta ambiciosa y relevante exposición, cuya visita no dejamos de recomendar por su excepcionalidad y previsible trascendencia—. Acompañamos estos pensamientos de la audición de algunos fragmentos de obras presentadas en “Audiosfera”, firmadas por Jana Winderen (“Heated”, de 2008), Olivia Block (“Foramen Magnum, de 2013), Chantal Dumas (“Oscillations planétaires: Magnétisme terrestre, de 2019), Barbara Held (“Pausa”, de 2018), Christina Kubisch (“Seven magnetic places”, de 2017) y Susana López (“Fenomenología”, de 2012). Aunque, de manera excepcional, apenas comentamos cada una de estas composiciones en esta edición de Ars Sonora —al contrario de lo que es habitual en nuestro programa desde su fundación en 1985, pues consideramos que ello es fundamental para el “reconocimiento, exposición y análisis” de las piezas y sus autores—, sí proporcionamos las referencias a las ediciones anteriores de nuestro espacio dedicadas a cada una de las mencionadas artistas. Escuchar audio

Bijdetijds.   01 – Orquestra del Tiempo Perdido. ( foto ) “Zen in Tummy” 02 – Christina Kubisch. “Circles III” 03 – Egidija Medeksaite. “BhUtadhatrI” 04 – Christina Kubisch. “Magnetic Flights” 05 – Orquestra del Tiempo Perdido. “Hills for Seamus”  

durée : 00:05:05 - Les Carnets de la création - par : Aude Lavigne - L'artiste sonore et chercheuse allemande, Christina Kubisch, a mis au point, avec l'aide d'un ingénieur, un casque qui permet d'écouter des sons que nos oreilles ne peuvent entendre sans le dit casque. Nous vous invitons à partager l'aventure ! - réalisation : Charlotte Roux - invités : Christina Kubisch Artiste sonore

Radio gilt als privates Medium. Heutzutage hört man meist allein oder im kleinen Kreis. Die Stimmen aus dem Studio versuchen Intimität herzustellen, „Hörernähe“. Ausflüge des Radios in den öffentlichen Raum sind zwar erwünscht aber nicht die Regel. Anke Eckardt, H.W. Koch, Christina Kubisch und Paul Plamper im Gespräch mit Marcus GammelHören bis: 19. Januar 2038, 04:14

Radio gilt als privates Medium. Heutzutage hört man meist allein oder im kleinen Kreis. Die Stimmen aus dem Studio versuchen Intimität herzustellen, „Hörernähe“. Ausflüge des Radios in den öffentlichen Raum sind zwar erwünscht aber nicht die Regel.Anke Eckardt, H.W. Koch, Christina Kubisch und Paul Plamper im Gespräch mit Marcus GammelHören bis: 19. Januar 2038, 04:14Direkter Link zur Audiodatei

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

ESC is a work of experimental audio-based scholarship combining sound studies, radio history, and environmental criticism. This unique project is a fully open access, fully digital suite of audiographic essays, presented as a ten-part podcast series, combining spoken commentary, clips from classic radio dramas, excerpts from films and television shows, news reports, and the work of contemporary sound artists. A brief written essay on the ESC website provides a helpful introduction and context for this project. ESC takes as its point of departure the CBS Radio adventure series Escape (1947–54). The postwar years saw both a decline in popularity for American radio drama, and the dawn of the Anthropocene era, with human beings emerging as the primary force affecting the earth's systems. Jacob Smith considers Escape's adventure stories from an ecocritical perspective, analyzing the geographic, sociopolitical, and ecological details of the stories to reveal how they are steeped in social and environmental history. The work of contemporary sound artists and field recordists underscores the relevance of sound in these narratives and demonstrates audio's potential as a key medium for scholarship. ESC features recordings by some of the most prominent sound artists working in this area, including Daniel Blinkhorn, Peter Cusak, David Dunn, JLIAT, Christina Kubisch, Francisco López, Sally Ann McIntyre, Chris Watson, and Jana Winderen. ESC makes the urgency of our critical ecological moment audible in a new way. The audio essays articulate what it means to live in an Anthropocene era and posit alternative ways of conceptualizing our historical moment. ESC sharpens our ability to listen and respond to our world with greater ecological awareness. Published by The University of Michigan Press, 2019. https://doi.org/10.3998/mpub.10120795

Gloria González Fuster, Rosamunde van Brakel Common understandings of surveillance are marked by the notions of visibility and invisibility, epitomised in popular culture by images such as a secret watchful eye, or Big Borther's ubiquitous gaze, and often defined by theoretical concepts like the Pan(syn)opticon. All this emphasis on the interplay between the visible and invisible, however, may leave in the dark important insights on contemporary surveillance's functioning, power and impact. This talk is an invitation to move beyond such conceptions by exploring surveillance via the ‘paranoid ear', to quote Seth Cluett, discussing the ways in which surveillance might be sonically approached and unpacked. It will take as a starting point that music appears to want to tell us about surveillance, as document by numerous examples of (un)popular music tackling the subject (including works by Kraftwerk, AGF, Holly Herndon, or Anohni), but also sound art projects, such as Christina Kubisch's electrical city walks and their tracking of invisible data flows. It will then highlight the common technological roots of contemporary surveillance and modern music, acknowledging their intertwined rhizomatic histories – as embodied, for instance, by Lev Sergueïevitch Termen's biography and influence. FInally, it will question the validity of thinking (modern) music as surveillance and vice versa, as supported by Theodor W. Adorno's sociological critique, Jacques Attali's 1970s portrayal of the evolution of the contemporary music industry, and the use of music as a method of acoustic control and for social sorting in the public space. In this context, we will consider how current practices of (digital) musical consumption relate to, or even constitute surveillance, and the spaces this leaves for any sound contestation.

Programme de MARTYNA POZNAŃSKA pour webSYNradio : from the inaudible to the audible sphere. Avec les sons (dont certains inédits) de Robert Curgenven, Christina Kubisch, Natalia Bustamante, Peter Cusack, Alyssa Moxley, Hans Peter Kuhn, Karen Power, Martyna Poznańska.

Episode 2 of What are you looking at? uses Contemporary Art Tasmania's Envelop(e) exhibition to explore the medium of sound. Host, Briony Kidd, asks "what is sound art?" and "how is it different from music?" This episode features interviews with envelop(e) curator, Dr Matt Warren, envelop(e) artist Julian Day and Hobart-based artist Mish Meijers, and sounds from envelop(e) artists Jason James, Mick Harris, Christina Kubisch and Elizabeth Veldon.

Fyra framstående ljudkonstnärer - Åsa Stjerna, Jana Winderen, Christina Kubisch och Carl Michael von Hausswolff - öppnar våra öron för tillvaron i sommarens gotländska konsthändelse Gute Ljaudkarte Det är Visby Internationella Tonsättarcentrum som bjudit in fyra av vår tids ledande ljudkonstnärer att sommartid ljudsätta tillvaron på Gotland. Detta sker på fyra platser: vid Helgumannens fiskeläge på Fårö, i en lång, lång tunnel i en slagghög på ön Furillen, i den vackra botaniska trädgården i Visby och i den lika vackra trädgården och konsthallen vid Körsbärsgården i Sundre. I dokumentären möter vi konstnärerna och deras verk, och bland besökarna en amerikansk ljudprofessor och en musikalisk trädgårdsmästare. Som med lyssnaren funderar över vad ljuden och frånvaro av ljud berättar för oss om tillvaron och om oss själva. Gute Ljaudkarte 2015 pågår t o m nystartade Gotland Art Week vecka 34. En P2 dokumentär av Eva Sjöstrand

KNITSONIK explores the idea of exploring the texture of places through knitting and sound; includes field recordings from Estonia and Cumbria, and sounds recorded on Christina Kubisch's soundwalks.

Programme de JULIA DROUHIN pour webSYNradio : MAGNETIC PLAYLIST avec des sons de Matthew BROWN, Henri CHOPIN, Delia DERBYSHIRE, Luc FERRARI, Beatriz FERREYRA, Bernard HEIDSIECK, Pierre HENRY, Emmanuelle GIBELLO, Christina KUBISCH, Alvin LUCIER, Ilhan MIMAROGLU, Anton MOBIN, Frédéric MALKI, Aki ONDA, OGROB, Bernard PARMEGIANI, PEOPLE LIKE US, TAPETRONIC, Gregory WHITEHEAD…

SNYK inviterede den tyske lydkunstner Christina Kubisch til Danmark med DIVA-ordningen. Hør hende fortælle om sit byvandringsprojekt. http://www.kunst.dk/statenskunstraad/kunst-globalisering/kunst-i-fokus-kunst-globalisering/diva-ordningen-christina-kubisch/

SNYK inviterede den tyske lydkunstner Christina Kubisch til Danmark med DIVA-ordningen. Hør hende fortælle om sit byvandringsprojekt. http://www.kunst.dk/statenskunstraad/kunst-globalisering/kunst-i-fokus-kunst-globalisering/diva-ordningen-christina-kubisch/

The central thematic piece in this mix is Christina Kubisch' "Tea Time (Autumn Leaves Mix)", from Gruenrecorder's "Autumn Leaves" - male singers communicating as if they were birds, twittering words like "Who's awake?", "Me Too!" and "Who cooks for you?". This spring-like chatter evokes a strange and hypnotic landscape sometimes unnerving, sometimes comforting. This mix was created february - march 2008, together with "True". It was definitely an early spring that year! --- originally published on Ambientblog --- STRANGE BIRDS PLAYLIST: David Lynch – Untitled 1– The Air is On Fire – Strange World Music – SWM001 – 20071000 Finnish Soundscapes – Parolanummi– Autumn Leaves – Gruenrecorder – Gruen053 – 2007Goldmund – Then– Two Point Discrimination – Western Vinyl – West048 – 2007Audela – Audela part 3– Audela – Plague Recordings – Plague002 – 2007Krypton – Polelum– Silent Drama – Test Tube – tube 102 – 2007Mensa – Skane– Nordic Recordings – Resting Bell – RB011 – 2007Patrick Franke – Schwarzspecht– Autumn Leaves – Gruenrecorder – Gruen053 – 2007Klimek – For Steven Spielberg & Azza El-Hassan– Dedications – Anticipate recordings – ANTICIPATE004A – 2007Oophoi – Cold Sun– Whispers from the Noisy Void – Umbra/Penumbra – Umbra060 – 2007Entia Non – Above– Distal – Test Tube – tube099 – 2007Venetian Snares – Colorless– My Downfall – Planet MU – 2007Christina Kubisch – Tea Time (Autumn Leaves Mix)– Autumn Leaves – Gruenrecorder – Gruen053 – 2007Krypton – Silent Drama– Silent Drama – Test Tube – tube 102 – 2007Eliane Radigue – Death Nirvana– Jetsun Mila – Lovely Music – LCD2003 – 2007Andrew Chalk – Obscure in the Valley– Time of Hayfield – Faraway Press – FP13 – 2007Konntinent – All Lines Lead In– All Lines Lead In – Serein – SER015 – 2007Worrytrain – Prelude for Piano & Malaria– Fog Dance, My Moth Kingdom – Own Records – 2007Arno Peeters – Elements– Autumn Leaves – Gruenrecorder – Gruen053 – 2007Christina Kubisch – Tea Time (Autumn Leaves Mix)– Autumn Leaves – Gruenrecorder – Gruen053 – 2007Tzesne – The Pet– Cliffs under the Mist – Mystery Sea – 2007Andrew Chalk – Suspended in the Air– Time of Hayfield – Faraway Press – FP13 – 2007David Lynch – Untitled 8– The Air is On Fire – Strange World Music – SWM001 – 2007Goldmund – One– Two Point Discrimination – Western Vinyl – West048 – 2007Cusack – Chernobyl Dawn– Autumn Leaves – Gruenrecorder – Gruen053 – 2007

  We tempt fate with lots of new music on podcast 13, but all the while hold a trump card in the form of a classic piece by Pita. Fear not lucky 13! Rare Frequency Podcast 13: Lucky 13 1 Ryoji Ikeda, "Untitled #25" Touch 25 (Touch) CD 2006 2 Alvars Orkester, "Lighthouse Service" Organic Woodtrip (1991-1992) (Kning Disk) CD 2006 3 Christina Kubisch, "Travel" For (Die Schachtel) CD 2004 4 Pita, "Untitled" Get Out (Mego) CD 2000 5 Kanding Ray, "n.n/peaks" Stabil (Raster Noton) CD 2006 6 Reanimator, "Clicks and Drones May... " Special Powers (Community Library) CD 2006 7 Martin Tetreault & Otomo Yoshihide, "Tradition " 21 Situations ("DAME") CD 1999 Photo: Shaun Gummere