spacial, social and other conditions of auricular activities
practical experiments about space as a musical parameter:
// inner ear activities //
// nodes & resonances //
// surround with one speaker //
// the space between the ears //
// social reverberations //
The workshop is conducted as an open format, offering several setups which require active participation of the attendants. It is based on musical pieces of the authors and other artists, such as:
"FYEO" [for your ears only] [noid]
"ohne mich wäre alles noch viel schlimmer" [without me everything would be even worse] [matija schellander]
"tinitoene" [tinnitus-tones] for victorian synthesizer and jing-hu [matija schellander & noid]
"music for 5 instruments and a gun" [noid]
"huddle" [noid]
"the drill" [by Matija Schellander]
"chambers" [by Alvin Lucier, 1968]
Matija Schellander and noid share a common interest and awareness in how different kinds of - not only physical -spaces are an integral part of the sound. The workshop can be seen as part of this research they are carrying out withmany years of experiments in live performance, sound installations and composition.
...some examples of what could happen:
Situation A: The whistleblower orchestra: Every participant working with sounds that only happen inside of his ears, while being part of an orchestra - imagining what the others hear.
Situation B: Exploring resonances and reverberation of objects and spaces with mobile devices and instruments.
Situation C: Starting from the same point everybody is walking away from each other, actuating the pneumatic horn once every minute, until your own horn is the only one you hear.
我们的内在公共空间
空间的、社会性和在其他条件下的耳廓活动
关于空间，作为一个音乐参数的实践性试验：
// 内在耳部活动//
// 交点和共振//
// 以一个扬声器环绕//
// 耳与耳之间的空间//
// 社会反响//
基于以下的创作作品，工作坊将是一个开放的状态，需要观众的积极参与：
"FYEO"[唯自己的耳朵能听见][noid]
"ohnemichwäreallesnochvielschlimmer"[若没有我每件事会变得更糟][matija&schellander]
"tinitoene"[tinnitus-tones]维多利亚合成器和京胡[matija schellander& noid]
"5种乐器和1把枪”[noid]
"杂乱、乱堆"[noid]
"钻头"[by Matija Schellander]
"厢"[byAlvin Lucier,1968]
MatijaSchellander和noid对于这一问题：不同种类的空间（不只是物理空间）是如何成为声音的一个不可或缺的部分上有着共同的兴趣和意识。这一工作坊可被认为是他们多年来做的关于“现场表演”、“ 声音装置”和“创作”的研究一部分。...以下是可能发展出的一些情况：
情景A: “吹口哨管弦乐团”：每位参与者都与只在其耳中发生的声音共处，同时也是一个乐团的一部分，想象其他人听到何种声音.
情景B: 运用移动装置和设备，探索物体和空间的共振和混响。
情景C: 每个人从同一点出发走离对方，每一分钟驱动气动喇叭一次，直至你只能听到自己喇叭的声音。