O.T. 2006 Exhibition daadgalerie + Akademie der Künste am Pariser Platz
Installation/Soundarchitecture, Performance
Meteorlabyrinthesis (copyright Douglas Park)www.buildingtransmissions.comIn cooperation with the Berliner Künstlerprogramm of the DAAD.
Installation/Soundarchitecture, Performance
Meteorlabyrinthesis (copyright Douglas Park)www.buildingtransmissions.comIn cooperation with the Berliner Künstlerprogramm of the DAAD.
Evoking memories and emotions in buildings and people. [Natasa Petresin]:
»Only stupid people believe in things they can see or touch«, said an old man in a haunted and beautiful Icelandic film Cold Fever (1994) by Fridrik Thor Fridriksson. The followers of the traditional esoteric teachings and currents from the old to the new age, as well as someone as brave as Friedrich Jürgenson with his electronic voice phenomena experiments all nod(ded) to this simple but profound thought, but so do The Building Transmissions too. Transmission in telecommunication field stands for the act of transmitting meaningful or futile electrical messages, the signals and noises. In information theory it is the process of the communication of a message or information with help of a channel. The content is not necessarily delivered in an evocative way, but it is an evoking one.
There are a few constant ideas and themes that the collective The Building Transmissions is evoking throughout their many projects which freely move between sound, visual and architectural practices. One of these ideas is finding the means of visual or other sensational translation of the physicality of sounds. At their performances the sound appropriates the laws of an object, one feels it as a trembling inside of one’s body caused by the manipulating of the feedback loops, one sees it in the form of a contact microphone attached to a pencil drawing the same patterns repeatedly, one listens to how a particular location is sounding, how the movement are confined due to the given architectural limitations.
The other is producing a dynamic subjective space through tracing and defining movement, memories, sounds and ongoing collaborative practices. We tend to become sensory deprived of crucial qualities of the spaces we inhabit daily, as we render them to their basic status of being there for granted. The Building Transmissions are evoking those potential physical, emotional or historical ontologies that exist next to the way we inhabit spaces, those invisible cities as Italo Calvino called the states of sensibly uncertain constructions and habitats, those ghostly recordings or documents of ghost presences that Friedrich Jürgenson was archiving for years in order to transmit the memory that is there but is difficult to perceive.
Close to this production of subjective spaces is a documenting activity of the collective, which tends to record all what is being thought of, said, reflected, seen, chased, discovered, traveled to or collectively produced, and re-transmit this constantly building archive into the future projects. As in historical archives that never reflect the objective reality in the past and in the present due to political reasons but also due to the fact that they are never total or complete, similarly our memory is dynamic memory, adapted and changed literally everyday.
Tendencies in rendering the vast library of immaterial and ungraspable events and situations to a certain form result in a three-, or let us say, four-dimensional sonic architecture, as The Building Transmissions themselves often describe their practice. Through their adjustable, elastic collaborative relations the BT define the pool of memories, relationships and the discipline of working-together as that specific immateriality that they are interested to translate.
»Only stupid people believe in things they can see or touch«, said an old man in a haunted and beautiful Icelandic film Cold Fever (1994) by Fridrik Thor Fridriksson. The followers of the traditional esoteric teachings and currents from the old to the new age, as well as someone as brave as Friedrich Jürgenson with his electronic voice phenomena experiments all nod(ded) to this simple but profound thought, but so do The Building Transmissions too. Transmission in telecommunication field stands for the act of transmitting meaningful or futile electrical messages, the signals and noises. In information theory it is the process of the communication of a message or information with help of a channel. The content is not necessarily delivered in an evocative way, but it is an evoking one.
There are a few constant ideas and themes that the collective The Building Transmissions is evoking throughout their many projects which freely move between sound, visual and architectural practices. One of these ideas is finding the means of visual or other sensational translation of the physicality of sounds. At their performances the sound appropriates the laws of an object, one feels it as a trembling inside of one’s body caused by the manipulating of the feedback loops, one sees it in the form of a contact microphone attached to a pencil drawing the same patterns repeatedly, one listens to how a particular location is sounding, how the movement are confined due to the given architectural limitations.
The other is producing a dynamic subjective space through tracing and defining movement, memories, sounds and ongoing collaborative practices. We tend to become sensory deprived of crucial qualities of the spaces we inhabit daily, as we render them to their basic status of being there for granted. The Building Transmissions are evoking those potential physical, emotional or historical ontologies that exist next to the way we inhabit spaces, those invisible cities as Italo Calvino called the states of sensibly uncertain constructions and habitats, those ghostly recordings or documents of ghost presences that Friedrich Jürgenson was archiving for years in order to transmit the memory that is there but is difficult to perceive.
Close to this production of subjective spaces is a documenting activity of the collective, which tends to record all what is being thought of, said, reflected, seen, chased, discovered, traveled to or collectively produced, and re-transmit this constantly building archive into the future projects. As in historical archives that never reflect the objective reality in the past and in the present due to political reasons but also due to the fact that they are never total or complete, similarly our memory is dynamic memory, adapted and changed literally everyday.
Tendencies in rendering the vast library of immaterial and ungraspable events and situations to a certain form result in a three-, or let us say, four-dimensional sonic architecture, as The Building Transmissions themselves often describe their practice. Through their adjustable, elastic collaborative relations the BT define the pool of memories, relationships and the discipline of working-together as that specific immateriality that they are interested to translate.
Building Transmissions, activ as a collaborative unit since 2001.
http://www.sonambiente.net/en/04_artists/4M2bui_werk.html
Concept of building Transmissions
sonambiente_discourse with theoretical debate at tesla salon and thesonambiente_filmseries iat Filmkunsthaus Babylon round out the programme. The sonambiente_website presents net-specific projects and documents the festival. The 400-page sonambiente_catalogueprovides an introduction to the participating artists and their projects, and also contains an expert discussion of the field, with 25 original contributions on the theoretical issues in acoustic art..
sonambiente interprets the city as an actual work of sound art. Art experience is conveyed as urban experience, and vice versa. With art positioned at original showplaces and 'found locations' throughout the centre of Berlin, the festival also pursues critical reflection on urban development. sonambiente has been intentionally timed around the football World Cup, when the acoustic rituals of massive passions for football will lend a special tone to the city as sound art. Picking up on this, some of the artists execute a playful double pass between football and art. In addition, the festival extends an invitation to thesonambiente_public viewing world cup sound art lounge in the Haus der Berliner Festspiele, where all the football matches will be screened live and given full artistic treatment. Berlin, one of the most important international centres for sound art, was the venue for sonambiente in 1996, when the festival was first realised with great success as part of the tercentenary celebration of the Akademie der Künste. Under the joint auspices of the Akademie der Künste and the Berliner Festspiele, sonambiente berlin 2006 revives the historic time-honoured partnership that already created a sensation back in 1980 with For Eyes And Ears, an exhibition by René Block and Nele Hertling that was pioneering for the interdisciplinary arts.
Our sincere thanks go to all participating artists, our backers, the cooperating and sponsoring institutions, and to all co-workers and helpers for their commitment. Special thanks are owed to the Hauptstadtkulturfonds, which made this project possible, and to the Polish Embassy in Berlin, which has granted access to its former embassy quarters on Unter den Linden as the German-Polish Culture Year draws to a close. We look forward to many open eyes and ears!
Matthias Osterwold Georg Weckwerth
or
a multimedia collective, 2001 - 2009
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