{"id":606,"date":"2021-04-08T22:58:45","date_gmt":"2021-04-08T20:58:45","guid":{"rendered":"https:\/\/www.gerngesehen.de\/funkt\/eng\/?page_id=606"},"modified":"2021-04-16T08:59:44","modified_gmt":"2021-04-16T06:59:44","slug":"sunday-18-april-2021","status":"publish","type":"page","link":"https:\/\/www.gerngesehen.de\/funkt\/?page_id=606","title":{"rendered":"sunday <br> 18 april 2021"},"content":{"rendered":"\n<p><\/p>\n\n\n\n<p style=\"font-size:18px\">A weekend of 53 hours non-stop excerpts what makes electronic + sound art from Cologne adorable \u2013 worth hearing \/ sound art radio \/<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-white-color has-text-color has-large-font-size\">sunday<br>18 april 2021<\/p>\n\n\n\n<p style=\"font-size:10px\">MESZ\/CEST\/CEDT BST + 0100<\/p>\n\n\n\n<p class=\"has-cyan-bluish-gray-color has-text-color has-large-font-size\">0 \u2014 3 h<br>funkt#11<\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-background has-cyan-bluish-gray-background-color has-cyan-bluish-gray-color is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">00:00<br><strong><strong>Pre-Noise of Cologne&nbsp; (1957-2007)<\/strong><br><\/strong>Frank Dommert<br><em>Moderation:<\/em> the artists <em>(ger)<\/em><\/p>\n\n\n<div id=\"sp-ea-607\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6070\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> experimental \/ krautrock \/freejazz \/ Industrial<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6070\" data-parent=\"#sp-ea-607\"><div class=\"ea-body\"> <p><em>Duration:<\/em> \u00a0120:00 min<\/p>\n<p><em>en \/ \u2018<\/em>Pre-Noise of Cologne \/ In search of traces in 50 years of experimental &amp; electronic music from the Rhineland (1957-2007)\u2019 by Frank Dommert \/ In a two-hour DJ set Frank Dommert browses his archives of 50 years of music history in search of experimental, electronic and unusual releases from Cologne. Ranging from the productions of the electronic studio of WDR, Krautrock and Freejazz, and ending with Industrial and Electronica from the early 2000s.<\/p>\n<p>ger \/ \"Pre-Noise of Cologne \/ Auf Spurensuche in 50 Jahren experimenteller &amp; elektronischer Musik aus dem Rheinland (1957-2007)\" \/ In einem zweist\u00fcndigen DJ Set begebe ich mich auf die Suche nach experimentellen, elektronischen und ungew\u00f6hnlichen Ver\u00f6ffentlichungen aus K\u00f6ln aus 50 Jahren Musikgeschichte. Beginnend mit Produktionen des elektronischen Studio des WDR \u00fcber Krautrock und Freejazz bis hin zu Industrial und Glitch &amp; Techno der fr\u00fchen 2000er Jahre.<\/p>\n<p>&nbsp;<\/p>\n<p>playlist:<br \/>\n\u2014 Relationships For Melody Instruments (New Computer Music) \/ Clarence Barlow<br \/>\n\u2014 Zweiter Teil (Acustica)\u00a0 \/ Mauricio Kagel<br \/>\n\u2014 Misone Edit (Ohren Des Kaiser Hirohito)\u00a0 \/ Monika Westphal<br \/>\n\u2014 Feldst\u00e4rke 8 (Feldst\u00e4rken) \/ Thomas Lehn<br \/>\n\u2014 0100 (Klick) \/ Thomas Brinkmann<br \/>\n\u2014 Br\u00fcsseler Platz 10A-Musik \/ Hajsch - 1000 Fehler (1000 Fehler), Agentur Bilwet<br \/>\n\u2014 Soft Talking (Slow) \/ Jan Werner, F.X. Randomiz<br \/>\n\u2014 Music In The Air (Rome Remains Rome) \/ Holger Czukay<br \/>\n\u2014 Rudolphplatz 22:00 Uhr (Unerh\u00f6rt - Stadtkl\u00e4nge) \/ K\u00f6lner Saxophon Mafia<br \/>\n\u2014 Xeletisio (Onea Gako) \/ Marcus Schmickler<br \/>\n\u2014 \u03b3 (Entskidoo) \/ Joseph Suchy<br \/>\n\u2014 Telemusik (Greatest Hits) \/ Karlheinz Stockhausen<br \/>\n\u2014 Schwellen (Er Ist Tief Und Dein Wasser Ist Dunkler ) \/ C-Schulz<br \/>\n\u2014 Acoustic Fade (The First) \/ Dominik Von Senger<br \/>\n\u2014 Rachel (Silencer) \/ Senking<br \/>\n\u2014 Verh\u00f6rspielqu\u00e4kerseat (Augenwischwaldmoppgefl\u00f6te) \/ Schlammpeitziger<br \/>\n\u2014 Utkiek (Inkiek) \/ Klangwart<br \/>\n\u2014 Warning (Yog Sothoth) \/ Workshop<br \/>\n\u2014 Pulse Music III\u00a0 (Pulse Music III - Vanishing Points - A Cappella) \/ John McGuire<br \/>\n\u2014 Untitled #4 (Schwellwert) \/\u00a0 A.F.R.I. Studios<br \/>\n\u2014 Et\u00fcde \u00dcber Tongemische (Einf\u00fchrung) \/ Herbert Eimert<br \/>\n\u2014 Hocht\u00f6ner (Various - 25 Jahre Feedback Studio) \/ Johannes Fritsch<br \/>\n\u2014 Toygroove B,C,D (Zack Bumm) \/ Sack Und Blumm<br \/>\n\u2014 Transcendental Express (Unlimited Edition) \/ Can<br \/>\n\u2014 MU V (MU V \/ MU VI) \/ Michael Ranta<\/p>\n<p><a href=\"https:\/\/www.a-musik.com\/home.html\" target=\"_blank\" rel=\"noopener\">www.a-musik.com<\/a><br \/>\n<a href=\"http:\/\/entenpfuhl.com\/\" target=\"_blank\" rel=\"noopener\">entenpfuhl.com<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-610\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Dommert_Ko\u0308ln_Foto_Frank-Dommert.jpg\" alt=\"\" width=\"1495\" height=\"1495\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Dommert_Ko\u0308ln_Foto_Frank-Dommert.jpg 1495w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Dommert_Ko\u0308ln_Foto_Frank-Dommert-300x300.jpg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Dommert_Ko\u0308ln_Foto_Frank-Dommert-1024x1024.jpg 1024w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Dommert_Ko\u0308ln_Foto_Frank-Dommert-150x150.jpg 150w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Dommert_Ko\u0308ln_Foto_Frank-Dommert-768x768.jpg 768w\" sizes=\"auto, (max-width: 1495px) 100vw, 1495px\" \/><\/p>\n<p>Photo by Frank Dommert<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-background has-black-background-color has-black-color is-style-wide\"\/>\n\n\n\n<div class=\"wp-block-columns has-background is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\" style=\"background:linear-gradient(135deg,rgb(217,255,240) 0%,rgb(169,216,200) 42%,rgb(82,224,224) 100%)\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-medium-font-size\">02:00<br>audioplayer:::<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>BALLONI BROTHERS BALLOON WORK&nbsp;<\/strong><br><\/strong>Al Hansen<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>JOSEPH BEUYS STUKA DIVEBOMBER PIECE<\/strong><br><\/strong>Al Hansen<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong><strong><strong>CAR BIBBE<\/strong><br><\/strong><\/strong><\/strong>Al Hansen<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>DISORDER RESONANCE 02<br><\/strong><\/strong>Luis Antunes Pena<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>DISORDER RESONANCE 03<br><\/strong><\/strong>Luis Antunes Pena<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>DISORDER RESONANCE 04<br><\/strong><\/strong>Luis Antunes Pena<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>RARA<br><\/strong><\/strong>Achim Mohn\u00e9<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>FRIERTON<br><\/strong><\/strong>Susann Hempel, Olaf Helbing<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>MEZOSOIC<\/strong><br>Marek Goldowski, Natalie Bewernitz<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n<\/div>\n<\/div>\n\n\n\n<p id=\"18april3\"><\/p>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-columns has-background is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\" style=\"background:linear-gradient(135deg,rgb(217,255,240) 0%,rgb(169,216,200) 42%,rgb(82,224,224) 100%)\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-large-font-size\">3 \u2014 6 h<br>funkt#12<\/p>\n\n\n\n<p class=\"has-medium-font-size\">audioplayer:::<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\">\u2014 <strong>PUNKT LINIE <\/strong><br><strong>\u2014 GLOCKEN<\/strong><br>\u2014<strong> GLEITER<\/strong><br>Ensemble: T.ON<\/p>\n\n\n\n<p class=\"has-black-color has-text-color\" style=\"font-size:10px\">Matthias Muche: Trombone, Electronics \/ Constantin Herzog: Double bass, Electronics \/ Etienne Nillesen: Extended snare drum, Electronics Punkt Linie based on an interactive computer \/ Sven Hahne: graphic score<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>BELLER<\/strong><br>Ensemble: Bonecrusher<\/p>\n\n\n\n<p class=\"has-black-color has-text-color\" style=\"font-size:10px\">Matthias Muche: trombone\/electronics \/ feat. Matthias Muche Matthias M\u00fcller, Daniel Riegler, Anke Lucks, Moritz Anthes, Adrian, Prost, Maximilian Wehner, Matthias Schuller, Till K\u00fcnkler, Moritz Wesp: trombones \/ Rie Watanabe, Etienne Nillesen: percussion \/ Text and Voice: Anthony Moore \/ All compositions by Matthias Muche (GEMA)&nbsp;\/ <a href=\"http:\/\/www.matthiasmuche.com\" target=\"_blank\" rel=\"noreferrer noopener\">www.matthiasmuche.com<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>PROGETHAL-PERKUSSION F\u00dcR FORTGESCHRITTENE ANF\u00c4NGER <\/strong><em>(Ausschnitt)<\/em><br>Klarenz Barlow<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>KAPITAL GAINS<\/strong><br>Frauke Berg, Ralf Schreiber<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>DESTABILISIERUNGSPROZESSE UND ADAPTIONSVERLUSTE 1-7<\/strong><br>Modellkorrektur<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>ONE OF THESE ODD SECRETS PT.2<\/strong><br>Dietmar Bonnen, Ernst Gaida-Hartmann<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>ZWEI SINGENDE LANDSCHAFTSMALER&nbsp;<\/strong><br>Simon Rummel, Ketonge (aka Manfred R\u00fccker)<br>\u2014 Autista Magna&nbsp;<br>\u2014 Ich stieg aus<br>\u2014 New Frisur<br>\u2014 Ungew\u00f6hnliche Seltenheit<br>\u2014 Nackt in der Kirche<br>\u2014 Orgelschlag<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>PIPE CLAPHORSE<\/strong><br>Schlammpeitziger<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns has-background is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\" style=\"background:linear-gradient(135deg,rgb(217,255,240) 0%,rgb(82,224,224) 100%)\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-large-font-size\">6 \u2014 9 h<br>funkt#13<\/p>\n\n\n\n<p class=\"has-medium-font-size\">audioplayer:::<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>FL\u00dcSTERBREMSE<\/strong><br>Nathalie Brum&nbsp;<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>ABANDONEE #01<\/strong><br>NooK&nbsp;<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>GLOSSA<\/strong> <em>(20 Stimmen)<\/em><br>Elisa K\u00fchnl<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>MEMORY GARDEN<\/strong><br>Merzouga<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>METAMORPHOSE<\/strong><br>Nathalie Brum&nbsp;<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>LUFTZUG<\/strong><br>Elisa Metz<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>HUSTLE &amp; BUSTLE<\/strong><br>Bernd H\u00e4rpfer<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>NINE WANDS<\/strong><br>Elisa Metz<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>CIRCULATIONS<\/strong><br>Nathalie Brum<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>VERORTUNG B<\/strong><br>Tobias Hartmann&nbsp;<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>SKIZZEN II &#8211; TEIL C<\/strong><br>Elisa Metz&nbsp;<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>CLOCK OF FIFTHS<\/strong><br>hans w. koch&nbsp;<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>\u039c\u0391\u039a\u03a1\u0399\u0386<\/strong><br>Elisa K\u00fchnl<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>BR\u00dcCK MAUSPFAD<\/strong><br>Workshop<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns has-background is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\" style=\"background:linear-gradient(135deg,rgb(217,255,240) 0%,rgb(82,224,224) 100%)\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-large-font-size\">9 \u2014 12 h<br>funkt#14<\/p>\n\n\n\n<p class=\"has-medium-font-size\">audioplayer:::<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>\u00dcBERSCHREITUNGEN DES PRAGMATISMUS<\/strong> <em>(Excerpt)<\/em><br>Marcus Schmickler, Thomas Lehn<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>SCHNEID EIN ST\u00dcCK AUS DER ZEIT<\/strong><br>Schlammpeitziger<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>MAZWI<\/strong><br>Bernd H\u00e4rpfer<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>ABANDONEE #05<\/strong><br>NooK<br><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>BEH\u00c4BIGE ALARMSCHWARMLAGE<\/strong><br>Schlammpeitziger<br><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>LIBETHRA 8.07<\/strong><br>Andreas Wagner<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>STILL LIFE WITH ORPHEAN SHEPHERD<\/strong><br>Harald Muenz<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>AMUSE 2<\/strong><br>Tim Gorinski<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>VON DUBTISTEN<\/strong><br>Schlammpeitziger<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>POUNDING PONC<\/strong><br>hans w. koch<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>ASSEMBLESHIP (V.3)<\/strong><br>Nicolas Epe<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>FOLDED TUNING<\/strong><br>Hye Young Sin<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\">ON-Podcast:<br><strong>WE ACTUALLY MAKE MUSIC PART III <\/strong><br>sonae, Philipp H\u00f6ning<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>10&#215;15=30<\/strong><em> (Seite a)<\/em><br>Peter Behrendsen, hans w koch, Lucia Mense, Andreas O. Hirsch, Dietmar Bonnen<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>TRANSIT PIECE 1<\/strong> <em>(demo)<\/em><br>Isabelle Finou<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>EXCHANGE <\/strong><em>(A) <\/em><br>Viola Klein<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>YOU CANNOT IMAGINE<\/strong><br>Fetischpark<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>PROTOU<\/strong><br>Elisa K\u00fchnl<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>SECLUDED ORCHID<\/strong> <br>Echo Ho<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>LANDJAM<\/strong><br>Nasssau<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>WHAT IS SINGING<\/strong><br>Echo Ho<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>PUBLIC DEMAND #03<\/strong><br>Random Supply<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong>128-05 <\/strong><br>Burnt Friedmann, Jaki Liebezeit<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns has-background is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\" style=\"background:linear-gradient(135deg,rgb(217,255,240) 0%,rgb(82,224,224) 100%)\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-large-font-size\">12 \u2014 15 h<br>funkt#15<\/p>\n\n\n\n<p class=\"has-medium-font-size\">audioplayer:::<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong><strong><strong>MORGEN (DAS LEBEN NO. 3)<\/strong><br><\/strong><\/strong><\/strong>Frank Dommert<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>FENSTER 3 (NACH SCHWEIZ)&nbsp;<br><\/strong><\/strong>Frank Dommert, Marcus Schmickler<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>NEUM<br><\/strong><\/strong>Frank Dommert<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>EARLY<\/strong><\/strong> <strong><strong>LOOPS &amp; TAPES (B)<br><\/strong><\/strong>Frank Dommert<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>ZIMMERPFLANZEN IM ENDSTADIUM (A) <br><\/strong><\/strong>Frank Dommert<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>HUNSR\u00dcCK (INSTRUMENTAL VERSION)<br><\/strong><\/strong>Frank Dommert, H.N.A.S<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>ERINNERUNGEN AN VER\u00c4NDERUNGEN F\u00dcR LOGOS-AUTOMATEN<br><\/strong><\/strong>Rainer Boesch<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>VERORTUNG A<br><\/strong><\/strong>Tobias Hartmann<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\">ON-Podcast:<br><strong><strong>WE ACTUALLY MAKE MUSIC PT.4<br><\/strong><\/strong>sonae, Philipp H\u00f6ning<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>VERMALUNG II<br><\/strong><\/strong>Luis Antunes Pena<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>DOUBLENDER<br><\/strong><\/strong>Frank Dommert<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p class=\"has-black-color has-text-color has-small-font-size\"><strong><strong>MUMBAI DIARY<br><\/strong><\/strong>Bettina Wenzel<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p><\/p>\n<\/div>\n<\/div>\n\n\n\n<p id=\"18april15\"><\/p>\n\n\n\n<p id=\"17april15\"><\/p>\n\n\n\n<p class=\"has-cyan-bluish-gray-color has-text-color has-large-font-size\">15 \u2014 18 h<br>funkt#16<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\" id=\"block-e8a91905-ff52-4190-a2c1-706efafdba52\"\/>\n\n\n\n<p id=\"block-8985c3d5-d401-4b2c-a2af-599182292828\" style=\"font-size:18px\">15:00<br><strong>Sound as sculpture \/ A portrait of the artist Terry Fox<\/strong><br><em>Moderation:<\/em> Marita Loosen-Fox <em>(en)<\/em><\/p>\n\n\n<div id=\"sp-ea-650\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6500\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> radio feature  \/ bodyart \/ longstringperformance<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6500\" data-parent=\"#sp-ea-650\"><div class=\"ea-body\"> <p>2021<br \/>\n<em>Duration: \u00a0<\/em>32:22 min<\/p>\n<p><em>en \/<\/em> Terry Fox (b. 1943 Seattle \u2013 d. 2008 Cologne) was one of the leading pioneers of American Body Art and Conceptual Art. From the start, even in his earliest installations and environments, he used acoustic material as a central element of his artistic language. With his lifelong, innovative exploration of sound and space, Terry Fox is also one of the seminal figures and proponents of contemporary Sound Art. He became known worldwide in the 1970s for performances with meter-long piano wires stretched in rooms, often fastened from one wall to an opposite wall<em>.<\/em>With his understanding of sound as a sculptural material, he has created an impressive body of work located between Visual Art and Acoustic Sound Art. In this contribution for FUNKT, Marita Loosen-Fox presents central works with sound from Terry Fox's oeuvre. Among other things, one can hear an excerpt from his 90-minute \u201cComposition for Purring Cats\u201d (1976) which the radio station CPFA in Berkeley broadcasted in full length.<\/p>\n<p><em>ger \/<\/em> Terry Fox (1943 Seattle \u2013 2008 K\u00f6ln) war ein Wegbereiter der amerikanischen Body Art und Konzeptkunst. Bereits in seinen fr\u00fchen Installationen und Environments setzte er akustisches Material als zentrales Element seiner k\u00fcnstlerischen Sprache ein. Mit seiner lebenslangen, innovativen Erforschung des Klangs im Raum geh\u00f6rt Fox auch zu den Pionieren und Impulsgebern der zeitgen\u00f6ssischen Sound Art. Weltweit bekannt wurde er in den 1970er Jahren durch Performances mit meterlangen, in R\u00e4ume gespannten Klaviersaiten. Basierend auf seinem Verst\u00e4ndnis von Klang als skulpturalem Material schuf er ein beeindruckendes Werk zwischen Bildender und Akustischer Kunst, das sich klassischen Genrekategorien entzieht. Im Beitrag f\u00fcr FUNKT stellt Marita Loosen-Fox zentrale Klang-Arbeiten von Terry Fox vor. Zu h\u00f6ren ist unter anderem ein Ausschnitt aus seiner 90min\u00fctigen Komposition \u201aF\u00fcr Schnurrende Katzen (1976)\u2019, die der Radiosender CPFA in Berkeley in voller L\u00e4nge sendete.<\/p>\n<p><a href=\"http:\/\/terryfox-association.de\/\">terryfox-association.de<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-653\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Terry-Fox_Erossore_New-York_1978_Photo-Larry-Fox-\u00a9-Terry-Fox-Estate-1024x699.jpeg\" alt=\"\" width=\"1024\" height=\"699\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Terry-Fox_Erossore_New-York_1978_Photo-Larry-Fox-\u00a9-Terry-Fox-Estate-1024x699.jpeg 1024w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Terry-Fox_Erossore_New-York_1978_Photo-Larry-Fox-\u00a9-Terry-Fox-Estate-300x205.jpeg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Terry-Fox_Erossore_New-York_1978_Photo-Larry-Fox-\u00a9-Terry-Fox-Estate-768x525.jpeg 768w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Terry-Fox_Erossore_New-York_1978_Photo-Larry-Fox-\u00a9-Terry-Fox-Estate-1536x1049.jpeg 1536w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Terry-Fox_Erossore_New-York_1978_Photo-Larry-Fox-\u00a9-Terry-Fox-Estate-2048x1399.jpeg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>Photo by Larry Fox, 1978<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\" id=\"block-8de9cbc7-d62b-41c1-8863-ee3c1c3fbf2c\"\/>\n\n\n\n<p id=\"block-03ab8577-0133-43f6-a91a-745f268ea2e9\" style=\"font-size:18px\">15:33<br><strong>Chronotopia III: Ben and his friends in concert<br><\/strong>Dietmar Bonnen<br><em>Moderation:<\/em> the artists <em>(ger)<\/em><\/p>\n\n\n<div id=\"sp-ea-655\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6550\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> amplified sound sculptures <\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6550\" data-parent=\"#sp-ea-655\"><div class=\"ea-body\"> <p><em>Duration:<\/em> \u00a038:00 min<\/p>\n<p><em>en \/<\/em> Since the end of the 1990s Peter H\u00f6lscher has been building sound sculptures. These have to meet two criteria: they must appear as a work of art, i.e. have all the qualities of a sculpture, and they must sound interesting. All of these named sculptures are equipped with hidden microphonic pickups. Thus, when played by musicians, they can produce a wide variety of noises and sounds. Obviously, it is not possible to compose and notate for these sound sculptures in a conventional way. Dietmar Bonnen's \u2018Chronotopia III\u2019 creates a time structure which is implemented by the respective musicians under precise playing guidelines.<\/p>\n<p>ger \/ Seit Ende der 90er Jahre baut Peter H\u00f6lscher Klangskulpturen. Diese Objekte m\u00fcssen in zweifacher Hinsicht bestehen k\u00f6nnen: sie m\u00fcssen als Kunstwerk wirken, also \u00fcber alle Eigenschaften einer Skulptur verf\u00fcgen, und sie m\u00fcssen interessant klingen. F\u00fcr den Betrachter nicht sichtbar ist jedes Werk im Inneren mit Tonabnehmern best\u00fcckt. So k\u00f6nnen sie \u2013 von Musikern bespielt \u2013 die unterschiedlichsten Ger\u00e4usche und Kl\u00e4nge erzeugen. Alle Klangskulpturen haben Namen. Es versteht sich von selbst, dass f\u00fcr diese Klangskulpturen nicht in konventioneller Weise komponiert und notiert werden kann. Dietmar Bonnens \u00bbChronotopia III\u00ab schafft eine Zeitstruktur, die von den jeweiligen Musikern unter genauen Spielvorgaben umgesetzt wird.<\/p>\n<p>Marei Seuthe: R\u00a0 \/\u00a0 Beate Bonnen: Zebulon\u00a0 \/\u00a0 Gagga Deistler: Ben\u00a0 \/\u00a0 Michael Pape: News\u00a0 \/\u00a0 Dietmar Bonnen: Anna, Director<\/p>\n<p><a href=\"https:\/\/obst-music.com\/bootlegs\/bootleg-odonien.html\" target=\"_blank\" rel=\"noopener\">obst-music.com<\/a><br \/>\n<a href=\"https:\/\/peter-hoelscher.de\/cd-chronotopia-odonien.php\">peter-hoelscher.de<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-656\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Ben_in_Benrath_Foto-Peter-Ho\u0308lscher-1-1024x1024.jpg\" alt=\"\" width=\"1024\" height=\"1024\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Ben_in_Benrath_Foto-Peter-Ho\u0308lscher-1-1024x1024.jpg 1024w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Ben_in_Benrath_Foto-Peter-Ho\u0308lscher-1-300x300.jpg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Ben_in_Benrath_Foto-Peter-Ho\u0308lscher-1-150x150.jpg 150w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Ben_in_Benrath_Foto-Peter-Ho\u0308lscher-1-768x768.jpg 768w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Ben_in_Benrath_Foto-Peter-Ho\u0308lscher-1-1536x1536.jpg 1536w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Ben_in_Benrath_Foto-Peter-Ho\u0308lscher-1-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>Photo by Foto Peter Ho\u0308lscher<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\" id=\"block-59884bfa-5e81-409a-845f-150cf390e591\"\/>\n\n\n\n<p id=\"block-ee238938-1c2d-41ca-b125-cbc6fb878abe\" style=\"font-size:18px\">16:12<br><strong><strong>Studio Electronic Music WDR<\/strong><\/strong> \u2014 <strong>A post mortem<\/strong> <strong>Tribute to&nbsp; Volker M\u00fcller <\/strong><br>Moogulator<br><em>Narrator:<\/em> Volker M\u00fcller <em>(ger)<\/em><\/p>\n\n\n<div id=\"sp-ea-659\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6590\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> Studio f\u00fcr Elektronische Musik WDR <\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6590\" data-parent=\"#sp-ea-659\"><div class=\"ea-body\"> <p><em>Duration:<\/em> \u00a053:00 min<\/p>\n<p>en \/ Magnettonb\u00e4ndern, Ringmodulatoren, Impulsgeneratoren, Lautsprecherrotationstisch \/ Volker M\u00fcller (1942\u20142021) talks about the WDR Studio for Electronic Music, his experience as the studios' sound engineer \/ Mooglulator: <em>\"A visite to the Studio for Electronic Music in Cologne in 2018. A Documentation of a 2018 visit at the Studio for Electronic Music in Cologne can be found at sequencer.de. The documentation consists of random excerpts about the visit, and was aimed mainly for those who were also visiting. The video was for personal use, as well as for those other visitors and so are not \u2018quality-controlled\u2019 \u2013 please bear that it mind.\"<\/em><br \/>\nK\u00f6lner Stadt-Anzeiger (2017): \"<em>'Karlheinz Stockhausen developed his work with these devices - magnetic sound tapes, ring modulators, impulse generators, the rotating loudspeaker,' says Volker M\u00fcller, who worked as a sound engineer with the composer of New Music until 2001.\u00a0 He is familiar, to the very last detail, about the work and the devices that began the electronic age in the 1950s .. Sometimes he passes on his extensive knowledge to people who are connected to Stockhausen's work\". <a href=\"https:\/\/www.ksta.de\/region\/rhein-berg-oberberg\/kuerten\/besuch-im-alten-wdr-hoerstudio-geburtsstaette-fuer-stockhausens-werk--3971242?cb=1617960363503\" target=\"_blank\" rel=\"noopener\">www.ksta.de<\/a><\/em><\/p>\n<p><em>ger \/<\/em> Magnettonb\u00e4ndern, Ringmodulatoren, Impulsgeneratoren, Lautsprecherrotationstisch \/ Beim Besuch des Studios f\u00fcr Elektronische Musik erz\u00e4hlt Volker M\u00fcller (1942\u20142021) \u00fcber das WDR Studio f\u00fcr Elektronische Musik, seine Arbeit als zuts\u00e4ndiger Toningenieur. Dies sind zuf\u00e4llige Ausschnitte vom mooglator Besuch, vor allem f\u00fcr die Anwesenden. Das Video ist f\u00fcr f\u00fcr den privaten Gebrauch gedacht und f\u00fcr die, die da waren und erf\u00fcllt daher keine Gedanken an Qualit\u00e4t und Co.\u00a0<em><br \/>\n<\/em>K\u00f6lner Stadt-Anzeiger (2017):<em> \",Mit diesen Ger\u00e4ten \u2013 Magnettonb\u00e4ndern, Ringmodulatoren, Impulsgeneratoren, dem drehbaren Lautsprecher hat Karlheinz Stockhausen sein Werk entwickelt\u2019, sagt Volker M\u00fcller, der den Komponisten der Neuen Musik bis 2001 als Ton-Ingenieur begleitet hat. Bis ins Detail ist er vertraut mit dem Werk, den Ger\u00e4ten, mit denen in den 50er Jahren das elektronische Zeitalter begann. Manchmal gibt er sein umfangreiches Wissen weiter an Menschen, die Stockhausens Werk verbunden sind.\"<a href=\"https:\/\/www.ksta.de\/region\/rhein-berg-oberberg\/kuerten\/besuch-im-alten-wdr-hoerstudio-geburtsstaette-fuer-stockhausens-werk--3971242?cb=1617960363503\" target=\"_blank\" rel=\"noopener\">www.ksta.de<\/a><br \/>\n<\/em><\/p>\n<p><a href=\"https:\/\/www.sequencer.de\/blog\/wdr-studio-fur-elektronische-musik-visit-17-2-2018\/34170\" target=\"_blank\" rel=\"noopener\">www.sequencer.de<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-660\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Studio-Elektronische-Musik-d-WDR_Foto-Daniel-Mennicken--1024x683.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Studio-Elektronische-Musik-d-WDR_Foto-Daniel-Mennicken--1024x683.jpg 1024w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Studio-Elektronische-Musik-d-WDR_Foto-Daniel-Mennicken--300x200.jpg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Studio-Elektronische-Musik-d-WDR_Foto-Daniel-Mennicken--768x512.jpg 768w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Studio-Elektronische-Musik-d-WDR_Foto-Daniel-Mennicken-.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>Photo by Daniel Mennicken<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/wD89pJXQvWE\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">17:05<br><strong><strong>still unhurt (but also already assaulted by breath)&nbsp;<\/strong><\/strong><br>Merzouga: Eva Poepplein, Janko Hanushevsky<br><em>Moderation:<\/em> the artists <em>(en)<\/em><\/p>\n\n\n<div id=\"sp-ea-662\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6620\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> sound-composition  \/  fieldrecordings<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6620\" data-parent=\"#sp-ea-662\"><div class=\"ea-body\"> <p>Duration: \u00a023:56 min<\/p>\n<p><em>en \/<\/em> The 20\u2019 composition <em>\u2018still unhurt\u2019<\/em> is based on 20 real-time compositions we recorded in our studio during the first 20 days of the lockdown in March 2020. When listening back to the material we found life had left its traces in the music: moments of fear, helplessness, a lack of perspective and the complete collapse of our schedule.\u00a0 But also a sense of slowing down, a time for reflection about our buzzing, busy lives, and a sense of warmth and family. We created a sound-composition from that source material in April and May 2020, when we should have been at the international radio-festival Prix Marulic. As an homage that Prix Marulic, hosted by the Croatian broadcaster HRT at the island of Hvar, was cancelled for the first time in 25 years, we asked HRT sound engineer Marija Pecnik Kvesic if we could use her field recordings of Hvar. We then combined these with our recordings of a mixed colony of swifts and swallows that had returned from Africa to breed underneath our studio roof. The title is a reference to the poet Joseph Kopf and his poem <em>\u2018still unhurt, but also already assaulted by breath\u2019.<\/em> Our composition was commissioned by HRT\/ars acustica.<\/p>\n<p>ger \/Die 20'-Komposition <em>\"still unhurt\"<\/em> basiert auf 20 Real-Time-Kompositionen, die wir in den ersten 20 Tagen des Lockdowns im M\u00e4rz 2020 in unserem Studio aufgenommen haben. Beim Wiederh\u00f6ren stellten wir fest, dass das Leben seine Spuren in der Musik hinterlassen hat: Momente der Angst, Hilflosigkeit, Perspektivlosigkeit. Der komplette Zusammenbruch unseres Kalenders.\u00a0 Aber auch Zeit zum Nachdenken \u00fcber unser brummendes Leben, ein Gef\u00fchl von W\u00e4rme und N\u00e4he. Im April-Mai 2020, als wir eigentlich beim internationalen Radio-Festival Prix Marulic sein sollten, verdichteten wir dieses Material zu einer Klangkomposition. Als Hommage an die Tatsache, dass Prix Marulic, der vom kroatischen Sender HRT auf der Insel Hvar veranstaltet wird, zum ersten Mal seit 25 Jahren abgesagt wurde, baten wir Marija Pecnik Kvesic, eine HRT-Tontechnikerin, ihre Field-Recordings von Hvar verwenden zu d\u00fcrfen. Wir kombinieren sie mit Aufnahmen einer gemischten Schwalben-Mauersegler Kolonie, die gerade aus Afrika zur\u00fcckkam, um unter unserem Studio-Dach in K\u00f6ln zu nisten. Der Titel ist eine Anspielung auf den Dichter Joseph Kopf und sein Gedicht \"noch unverletzt, aber auch schon vom Atem bedroht\". <em>\"still unhurt\"<\/em> ist ein Kompositionsauftrag von HRT\/ars acustica.<\/p>\n<p>Janko Hanushevsky (akm\/austro mechana) &amp; Eva Poepplein (GEMA): Composers \/ Performed by Eva Poepplein: electronics, violin; Janko Hanushevsky: prepared electric basses, guitars \/ Field recordings of the island of Hvar \/ Croatia by Marija Pecnik Kvesic (HRT) \/ Commissioned and produced by Hrvatska radiotelevizija HRT \/ Adriana Kramaric: Editor<\/p>\n<p><a href=\"http:\/\/www.merzougamusic.com\/\" target=\"_blank\" rel=\"noopener\">www.merzougamusic.com<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-663\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Still-Unhurt_Video-still-by-Tasso-Okinawa.jpg\" alt=\"\" width=\"1023\" height=\"1024\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Still-Unhurt_Video-still-by-Tasso-Okinawa.jpg 1023w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Still-Unhurt_Video-still-by-Tasso-Okinawa-300x300.jpg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Still-Unhurt_Video-still-by-Tasso-Okinawa-150x150.jpg 150w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Still-Unhurt_Video-still-by-Tasso-Okinawa-768x769.jpg 768w\" sizes=\"auto, (max-width: 1023px) 100vw, 1023px\" \/><\/p>\n<p>Video Still by Tasso Okinaw<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">17:30<br><strong><strong><strong>TONZENTRALE<\/strong>&nbsp;<\/strong><\/strong><br>Bea Dickas<br><em>Moderation:<\/em> the artists <em>(ger)<\/em><\/p>\n\n\n<div id=\"sp-ea-666\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6660\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> electronic soundscapes<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6660\" data-parent=\"#sp-ea-666\"><div class=\"ea-body\"> <p><em>Duration:<\/em> \u00a029:00 min<\/p>\n<p><em>en \/ <\/em>Electronic soundscapes &amp; more since 2008 \/ This set has two parts. The first contains one of my latest pieces of music, a synth vaporwave inspired, quarantine-induced, one-take recording entitled \u2018005 Quarant\u00e4ne\u2019 (14:13). The second part is one of the very first pieces on Tonzentrale Modulation and is a new mix called \u2018NEU (alt\/mono)\u2019 (13:13). It\u2019s a kind of retro electronic audio autodidact piece of digital synth &amp; drum patterns, which I published in 2008 on good old Myspace, where the project started.<br \/>\nExplanation: Tonzentrale operates on the basis of Tonzentrale Modulation. While maintaining the Tonzentrale Central Tone, the gradual introduction of a new Tonart is achieved using particularly simple means.<\/p>\n<p><em>ger \/ <\/em>Elektronische Klanglandschaften &amp; Mehr seit 2008 \/Das Radio-Set besteht aus zwei Teilen. Im ersten Teil ist meine letzte Produktion zu h\u00f6ren, Quarant\u00e4ne-beeinflusst und inspiriert von Synth Vapor Wave \u2013 die in einem Take eingespielte Aufnahme \u201e005 Quarant\u00e4ne\u201c (14:13). Im zweiten Teil stelle ich einen neuen Mix der ersten Tonzentrale Modulation mit dem Titel \u201eNEU (alt\/mono)\u201c\u00a0 (13:13) vor \u2013 eine Art Retro elektronisches, audioautodidaktisches Musikst\u00fcck aus digitalen synthetischen Formen und Trommelmustern, die ich 2008 beim guten alten Myspace ver\u00f6ffentlichte, wo das Projekt seinen Anfang nahm.<br \/>\nErkl\u00e4rung: Tonzentrale ist auf Grundlage der Tonzentralen Modulation t\u00e4tig. Unter Beibehaltung des Tonzentralen Zentraltons wird die allm\u00e4hliche Einf\u00fchrung einer neuen Tonart unter Verwendung besonders einfacher Mittel erreicht.<\/p>\n<p><a href=\"http:\/\/NoBudgetMusic.eu\" target=\"_blank\" rel=\"noopener\">NoBudgetMusic.eu<\/a><br \/>\n<a href=\"http:\/\/www.tonzentrale.eu\/\" target=\"_blank\" rel=\"noopener\">www.tonzentrale.eu<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-667\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bea-TONZENTRALE_1001x1001_\u00a9-Bea-Dickas.jpg\" alt=\"\" width=\"1001\" height=\"1001\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bea-TONZENTRALE_1001x1001_\u00a9-Bea-Dickas.jpg 1001w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bea-TONZENTRALE_1001x1001_\u00a9-Bea-Dickas-300x300.jpg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bea-TONZENTRALE_1001x1001_\u00a9-Bea-Dickas-150x150.jpg 150w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bea-TONZENTRALE_1001x1001_\u00a9-Bea-Dickas-768x768.jpg 768w\" sizes=\"auto, (max-width: 1001px) 100vw, 1001px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>Illustration by Bea Dickas<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p id=\"18april18\"><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-cyan-bluish-gray-color has-text-color has-large-font-size\">18 \u2014 21 h<br>funkt#17<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">18:00<br><strong>Ungnyeo Tanuki&nbsp;<br><\/strong>Sebastian Thewes<br><em>Moderation:<\/em> the artists <em>(en)<\/em><\/p>\n\n\n<div id=\"sp-ea-670\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6700\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> fieldrecordings \/ Seoul \/ Kyoto \/ Tokyo<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6700\" data-parent=\"#sp-ea-670\"><div class=\"ea-body\"> <p>2019<em><br \/>\nDuration:<\/em> \u00a029:00 min<\/p>\n<p><em>en \/<\/em> This piece is based on recordings made on a cycling trip through South Korea and Japan. Most of the recording were made in Seoul, Kyoto and Tokyo. Fragments have already been presented in a 2019 concert at reiheM in Loft, Cologne, at which Seiji Morimoto also performed.<\/p>\n<p><em>ger \/<\/em> Das St\u00fcck basiert auf Aufnahmen, die bei Radreisen durch S\u00fcdkorea und Japan entstanden sind. Gr\u00f6\u00dftenteils wurden diese in Seoul, Kyoto und Tokyo aufgenommen. Fragmente daraus wurden bereits bei einem Konzert der ReiheM im Loft in K\u00f6ln Ende 2019 verwendet. Dort spielte auch Seiji Morimoto.<\/p>\n<p><a href=\"http:\/\/sebastianthewes.com\/\" target=\"_blank\" rel=\"noopener\">sebastianthewes.com<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-673\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Sebastian-Thewes_Foto-Sebastian-Thewes-1024x1024.jpg\" alt=\"\" width=\"1024\" height=\"1024\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Sebastian-Thewes_Foto-Sebastian-Thewes-1024x1024.jpg 1024w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Sebastian-Thewes_Foto-Sebastian-Thewes-300x300.jpg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Sebastian-Thewes_Foto-Sebastian-Thewes-150x150.jpg 150w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Sebastian-Thewes_Foto-Sebastian-Thewes-768x768.jpg 768w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Sebastian-Thewes_Foto-Sebastian-Thewes-1536x1536.jpg 1536w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Sebastian-Thewes_Foto-Sebastian-Thewes-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>Photo by Sebastian Thewes<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">18:30<br><strong><strong>Walking in the dark &amp; Space eraser<\/strong><br><\/strong>Confluences Giulia Vismara, Franziska Windisch<br><em>Moderation:<\/em> the artists <em>(en)<\/em><\/p>\n\n\n<div id=\"sp-ea-676\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6760\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> spokenreflections \/ radio art<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6760\" data-parent=\"#sp-ea-676\"><div class=\"ea-body\"> <p>2021<em><br \/>\nDuration:<\/em> \u00a019:18 min<\/p>\n<p><em>en \/<\/em> \u2018Walking in the Dark\u2019 and \u2018Space Eraser\u2019 are two sound pieces by Confluences, a collaborative, experiential project by Giulia Vismara and Franziska Windisch, which is concerned with experimental research on sounds in urban spaces. The corona pandemic forced the pair to develop new ways of long-distance working in order to continue this research as they were 1,516.6 km apart. They started writing scores, instructions and questions and made on-site field recordings and voice recordings to create an ongoing artistic dialogue. In this way, they have created a focused-listening piece which allows the listeners to also experience their collaborative thinking and working.<\/p>\n<p>ger \/ Confluences, ein Projekt von Giulia Vismara und Franziska Windisch, das sich der experimentellen Erforschung von Klang im st\u00e4dtischen Raum in der Form kollaborativer\u00a0Interaktion widmet, pr\u00e4sentiert die Kompositionen \"Walking in the dark\" und \"Space eraser\".\u00a0Aufgrund coronabedingter Umst\u00e4nde mussten neue Arbeitsweisen entwickeln werden, um die\u00a0Zusammenarbeit trotz einer Entfernung von 1.516,6 km fortzusetzen. Die \u00dcbertragung von Texten\u00a0 (Scores, Anweisungen, Fragen), von vor Ort gemachten field recordings , mobiles Radio und\u00a0Sprachaufnahmen spontaner Reaktionen wurden zu zentralen Elementen eines fortlaufenden\u00a0k\u00fcnstlerischen Dialogs. In den beiden St\u00fccken wurden diese direkt miteinander in Beziehung\u00a0gesetzt, um das gemeinsame Nachdenken und Zuh\u00f6ren das dem Prozess zugrunde liegt, weiterzuvermitteln.<\/p>\n<p><a href=\"https:\/\/www.cnflncs.space\" target=\"_blank\" rel=\"noopener\">www.cnflncs.space<\/a><br \/>\n<a href=\"https:\/\/www.giuliavismara.com\/\" target=\"_blank\" rel=\"noopener\">www.giuliavismara.com<\/a><br \/>\n<a href=\"http:\/\/www.franziskawindisch.com\/\" target=\"_blank\" rel=\"noopener\">www.franziskawindisch.com<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-681\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/confluences-_walking-in-the-dark_2021_Foto-Giulia-Vismara.jpg\" alt=\"\" width=\"750\" height=\"1000\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/confluences-_walking-in-the-dark_2021_Foto-Giulia-Vismara.jpg 750w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/confluences-_walking-in-the-dark_2021_Foto-Giulia-Vismara-225x300.jpg 225w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p>Photo by Giulia Vismara<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">18:51<br><strong><strong><strong>Raummusik und so&nbsp;<\/strong><\/strong><br><\/strong>Dirk Specht<\/p>\n\n\n<div id=\"sp-ea-686\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6860\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> concert series \/ sound art performance<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6860\" data-parent=\"#sp-ea-686\"><div class=\"ea-body\"> <p><em>Duration:<\/em> \u00a059:00 min<\/p>\n<p><em>en \/ <\/em>concert series &amp; sound art performance \/ presented by Dirk Specht \/ The programme \u2018Raummusik und so\u2019 presents several excerpts of recordings from the annual Cologne sound art event dedicated to spatialized music, sound art and also experimental music in general. In most cases the artistic contributions to \u2018Raummusik und so\u2019 are works which specifically address a particular, previously chosen annual topic. This basic \u2018constellation\u2019 ideally enables a large, open field of multi-perspective as well as multi-timbral experience for the audience, including variable localization options and an auditory compass for orientation! The recordings: \u2018Raummusik und so - Dancing on Nothing, but one swoosh!\u2019 (Radiophon) from \u2018Gold + Beton\u2019 at Ebertplatz in 2018 and \u2018Ambient Formula\u2019 in 2019 at Kunsthaus Rhenania (Rheinauhafen, Cologne) involve performance of sonic experiments and aural explorations via contextual links and, in some cases, strongly diverging spatial interpretations.<\/p>\n<p><em>ger \/ <\/em>vorgestellt von Dirk Specht \/ Der Beitrag zu \u201eRaummusik und so\u201c portr\u00e4tiert ausschnitthaft die j\u00e4hrliche Klangkunstveranstaltung in K\u00f6ln, die sich ebenso auch der experimentellen Musik widmet, anhand einiger Aufnahmen aus den Jahren 2018 und 2019.<br \/>\nBei \u201eRaummusik und so\u201c figuriert sich das jeweilige Geschehen zumeist in Auseinandersetzung mit einem vorab festgelegten Thema. Diese Grundkonstellation erm\u00f6glicht \u00fcber die dabei stattfindenden, kontextuellen Verkn\u00fcpfungen von z.T. stark divergierenden Rauminterpretationen mit ebenso vielf\u00e4ltigen H\u00f6rerkundungen und sonischen Experimenten f\u00fcr Besucher*innen idealerweise ein gro\u00dfes, offenes Feld multiperspektivischer wie multitimbraler Erfahrungen, inkl. variablen Verortungsm\u00f6glichkeiten und auditivem Kompa\u00df zur Orientierung! \u201eRaummusik und so \u2013 Dancing on Nothing, but one swoosh!\u201c(radiophon) 2018 im \"Gold + Beton\" am Ebertplatz und zur Thematik \u201eAmbient-Formula\u201c in 2019 im \u00bbKunsthaus Rhenania\u00ab(Rheinauhafen, K\u00f6ln).<\/p>\n<div class=\"\"><strong>Tracklist:<\/strong><br \/>\n\u2014 Ferrari Corretto \/ Martin Rumori\u00a0 <em>(live at Kunstwerk e.V. K\u00f6ln-Deutz, RM 2011)<\/em><\/div>\n<div class=\"\">\u2014 No simple Relationship \/ Ralf Schreiber\u00a0 <em>(live at Gold + Beton, RM 2018)<\/em><\/div>\n<div class=\"\">\u2014 Sphaira 01 <em>(Remix 2012)<\/em> \/ Denise Ritter\u00a0<em> (RM-radiophon, RM-2018)<\/em><\/div>\n<div class=\"\">\u2014 Six Agents sound the Morrison Canon \/ Anthony Moore\u00a0<em> (RM-radiophon, RM-2018)\u00a0<\/em><\/div>\n<div class=\"\">\u2014 Please open the Port \/ Susanna Schoenberg \u00a0<em> (live at Gold + Beton, RM 2018)<\/em><\/div>\n<div class=\"\">\u2014 F\u00fcr Hiroko <em>(Excerpt)<\/em> \/ Peter Behrendsen, Hiroko Nakajima\u00a0<em> (live at Kunsthaus Rhenania, RM 2019)\u00a0<\/em><\/div>\n<div class=\"\">\u2014\u00a0 grassy field (Excerpt) \/ Ralf Schreiber\u00a0 <em>(live at Kunsthaus Rhenania, RM 2019)<\/em><\/div>\n<div class=\"default-style\">\u2014\u00a0 Vess \/ Susanna Schoenberg\u00a0<em> (live at Ebertplatz K\u00f6ln, open air, RM 2015\u00a0)<\/em><\/div>\n<div class=\"\">\u2014\u00a0 140 Millionen Lichtjahre \/ Therapeutische H\u00f6rgruppe K\u00f6ln <em>(RM-radiophon, RM 2018\u00a0)<\/em><\/div>\n<div class=\"\">\u2014\u00a0 left and right and the hunt for the phantomsource \/ hans w. koch\u00a0 <em>(RM-radiophon, RM-2018)<\/em><\/div>\n<div class=\"\">\u2014\u00a0 A shared Periphery (Excerpt) \/ Hye Young Sin\u00a0 <em>(live at Kunsthaus Rhenania, RM 2019\u00a0)<\/em><\/div>\n<p>\u2014\u00a0 berlin 28.\/29. juli 11 mit spandauer wasser und luft <em>(tape f\u00fcr w.)<\/em> \/ Ole H\u00fcbner\u00a0 <em>(live at Kunstwerk e.V. K\u00f6ln-Deutz, RM-2012 )<br \/>\n\u2014\u00a0<\/em> Leuchtkasten mit Zeug <em>(Excerpt)<\/em> \/ Therapeutische H\u00f6rgruppe K\u00f6ln\u00a0 <em>(live at Kunstwerk e.V. K\u00f6ln-Deutz, RM-2012)<\/p>\n<p><\/em><\/p>\n<div class=\"\">Many grateful thanks to all supporters and helpers of \"Raummusik und so\" throughout all the years and especially to Georg Heike and Frank-Christian Stoffel, who came up with the idea and means to start it all (back then in 2001)!<\/div>\n<p><em>\u00a0<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-688\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/P_RM-BILD_Foto-Dirk-Specht-1024x576.jpg\" alt=\"\" width=\"1024\" height=\"576\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/P_RM-BILD_Foto-Dirk-Specht-1024x576.jpg 1024w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/P_RM-BILD_Foto-Dirk-Specht-300x169.jpg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/P_RM-BILD_Foto-Dirk-Specht-768x432.jpg 768w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/P_RM-BILD_Foto-Dirk-Specht-1536x864.jpg 1536w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/P_RM-BILD_Foto-Dirk-Specht-2048x1152.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>Photo by Dirk Specht<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">19:57<br><strong><strong><strong>Nom\u00e1des<\/strong><\/strong><br><\/strong>Javier A. Garavaglia, Gilles Gobeil, Francisco Lopez, Claudia Robles Angel, Hildegard Westerkamp<br><em>Moderation:<\/em> Javier A. Garavaglia <em>(en)<\/em><\/p>\n\n\n<div id=\"sp-ea-691\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6910\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> concert series of audiovisual and electroacoustic works <\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6910\" data-parent=\"#sp-ea-691\"><div class=\"ea-body\"> <p><em>Duration:<\/em> \u00a061:20 min<\/p>\n<p><em>en \/<\/em> A Concert series of audiovisual and electro-acoustic works curated by the artist Claudia Robles-Angel \/ 'Nom\u00e1des' (from the Greek '\u03bd\u03bf\u03bc\u03ac\u03b4\u03b5\u03c2': someone who moves from place to place, such as members of a shepherd, wandering community, constantly moving within a limited territory). Echoing the name of the concert series, this hour of acousmatic works by various composers is dedicated to the theme of travel. In a time, due to the pandemic, when travel has become almost impossible the various artists \u2018travel\u2019 via radio waves to their scattered listeners. Thus, the selected pieces invite diving into a frequency spectrum of travel possibilities: concrete cities with soundscapes leading to imaginary worlds.<\/p>\n<p><em>ger \/<\/em>Konzertreihe audiovisueller und elektroakustischer Werke kuratiert von der K\u00fcnstlerinClaudia Robles-Angel<strong> \/ <\/strong>\u201aNom\u00e1des\u2018 (aus dem griechischen \u201a\u03bd\u03bf\u03bc\u03ac\u03b4\u03b5\u03c2\u2018: jemand, der sich von Ort zu Ort bewegt, wie Angeh\u00f6riger eines Hirtenvolkes, Wandervolkes, das innerhalb eines begrenzten Gebietes st\u00e4ndig umherzieht). In Anlehnung an den Namen der Konzertreihe ist diese Stunde mit akusmatischen Werken verschiedener Komponisten dem Thema \"Reisen\" gewidmet. In Zeiten, in denen das Reisen aufgrund der Pandemie fast unm\u00f6glich geworden ist, reisen K\u00fcnstlerInnen diesmal \u00fcber Radiowellen zu ihren verstreuten Zuh\u00f6rerInnen. So laden die ausgew\u00e4hlten St\u00fccke dazu ein, in ein Frequenzspektrum von Reisem\u00f6glichkeiten einzutauchen: konkrete St\u00e4dte, Klanglandschaften bis hin zu imagin\u00e4ren Welten.<\/p>\n<p>Tracks<br \/>\n\u2014 Into the Labyrinth \/ Hildegard Westerkamp\u00a0 (15:04)<br \/>\n\u2014 Yanayacu \/ Francisco Lopez\u00a0 (10:00)<br \/>\n\u2014 Wandering in Morelia\u00a0 \/\u00a0 Claudia Robles-Angel\u00a0 (11:40)<br \/>\n\u2014 Derrie\u0300re la porte la plus e\u0301loigne\u0301e\u00a0 \/ Gilles Gobeil\u00a0 (12:00)<br \/>\n\u2014 Spaces: Suspended \u2013 Scattered \/ Javier A. Garavaglia\u00a0 (10:40)<\/p>\n<p><a href=\"https:\/\/nomadesconcerts.wordpress.com\/2017\/01\/03\/blog-post-title-3\/\" target=\"_blank\" rel=\"noopener\">nomadesconcerts.wordpress.com<\/a><\/p>\n<p><a href=\"https:\/\/icem.folkwang-uni.de\/~gara\/\" target=\"_blank\" rel=\"noopener\">Javier A. Garavaglia<\/a><br \/>\n<a href=\"https:\/\/www.hildegardwesterkamp.ca\" target=\"_blank\" rel=\"noopener\">www.hildegardwesterkamp.ca<\/a><br \/>\n<a href=\"http:\/\/www.gillesgobeil.com\" target=\"_blank\" rel=\"noopener\">www.gillesgobeil.com<\/a><br \/>\n<a href=\"http:\/\/www.franciscolopez.net\" target=\"_blank\" rel=\"noopener\">www.franciscolopez.net<\/a><br \/>\n<a href=\"http:\/\/www.claudearobles.de\" target=\"_blank\" rel=\"noopener\">www.claudearobles.de<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-696\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/nomades_Foto-Claudia-Robles-1024x683.jpeg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/nomades_Foto-Claudia-Robles-1024x683.jpeg 1024w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/nomades_Foto-Claudia-Robles-300x200.jpeg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/nomades_Foto-Claudia-Robles-768x512.jpeg 768w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/nomades_Foto-Claudia-Robles.jpeg 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>Photo by Birgit Kvamme Lundheim<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p id=\"18april21\"><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-cyan-bluish-gray-color has-text-color has-large-font-size\">21 \u2014 24 h<br>funkt#18<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">21:00<br><strong><strong><strong>DE-COMPOSING MACHINE<\/strong><\/strong><br><\/strong>Natalie Bewernitz, Marek Goldowski<br><em>Moderation:<\/em> the artists <em>(en)<\/em><\/p>\n\n\n<div id=\"sp-ea-699\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse6990\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> sound art composition<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse6990\" data-parent=\"#sp-ea-699\"><div class=\"ea-body\"> <p><em>Duration:<\/em> \u00a028:02 min<\/p>\n<p><em>en \/<\/em> The composition \u2018De-Composing Machine\u2019 by the artist duo Bewernitz\/Goldowski is generated by collected machine sounds, following the logic of control data and electrical impulses with which electric motors are sequentially controlled. Soundscapes of cloud-like spatial spheres intermix with granularly contoured sound sequences to form a dramaturgical field of tension between documentary sound and artificial perceptual spaces.<\/p>\n<p><em>ger \/<\/em> Die Komposition De-Composing Machine\u2019 des K\u00fcnstlerduos Bewernitz\/Goldowski generiert aus gesammelten Maschinenkl\u00e4ngen eine eigene akustische Wirklichkeit, die der Logik von Steuerdaten und elektrischen Impulsen folgt, mit der Elektromotoren sequenziell kontrolliert werden. Klangfl\u00e4chen von tragenden wolkenartigen Raumsph\u00e4ren mischen sich mit granular konturierten Tonsequenzen, bilden ein dramaturgisches Spannungsfeld zwischen dokumentarischem Klang und artifiziellen Wahrnehmungsr\u00e4umen.<\/p>\n<p><a href=\"http:\/\/www.bewernitzgoldowski.com\" target=\"_blank\" rel=\"noopener\">www.bewernitzgoldowski.com<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-700\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/De-ComposingMachine-Motiv_BG-1.jpeg\" alt=\"\" width=\"960\" height=\"960\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/De-ComposingMachine-Motiv_BG-1.jpeg 960w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/De-ComposingMachine-Motiv_BG-1-300x300.jpeg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/De-ComposingMachine-Motiv_BG-1-150x150.jpeg 150w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/De-ComposingMachine-Motiv_BG-1-768x768.jpeg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\" \/><\/p>\n<p>Photo by Bewernitz\/Goldowski<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">21:30<br><strong><strong>Superpolar Taips Mix<\/strong><br><\/strong>Marco Trovatello<br><em>Moderation:<\/em> Marco Trovatello\/Computervoice  <em>(en)<\/em><\/p>\n\n\n<div id=\"sp-ea-703\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse7030\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> cassette label \/ mix tape \/ voice \/ electronics <\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse7030\" data-parent=\"#sp-ea-703\"><div class=\"ea-body\"> <p><em>Duration:<\/em>\u00a0 30:00 min<\/p>\n<p><em>en \/<\/em> superpolar Ta\u00efps focuses on experimental pop music being released on limited edition cassettes as well as via digital means. So far, alongside a cassette single series enjoying unexpected interest, a couple of albums and EPs have been and are being released. superpolar Ta\u00efps is DIY with love for music and not for profit. The label is run by bleed Air, an artist whose musical work - under different monikers \u2013 has been at home in Cologne and other parts of Europe for quite some time.<\/p>\n<p><em>ger \/<\/em> superpolar Ta\u00efps konzentriert sich auf experimentelle Popmusik, die sowohl auf Kassetten in limitierter Auflage als auch auf digitalem Wege ver\u00f6ffentlicht wird. Bisher wurden und werden neben einer Kassetten-Single-Serie, die sich unerwarteter Beliebtheit erfreut, auch einige Alben und EPs ver\u00f6ffentlicht. superpolar Ta\u00efps ist ein DIY-Label mit einer Vorliebe f\u00fcr ungew\u00f6hnliche, selten geh\u00f6rte Musik, nicht kommerziell, nicht auf Profit ausgerichtet. Betrieben wird das Label von bleed Air, dessen musikalisches Schaffen \u2013 unter verschiedenen Pseudonymen \u2013 seit l\u00e4ngerem in K\u00f6ln und anderen Teilen der Welt zu Hause ist.<\/p>\n<p>Tracks<br \/>\n\u2014 The Tuesday Night Machines \/ Dust<br \/>\n<em>\"Chondrite\" cassette single, superpolar Ta\u00efps, 2021<br \/>\n<\/em>Amazing electronic musician and friend from Cologne. If you like this track as much as I do, visit\u00a0<a href=\"http:\/\/nightmachines.tv\/youtube\" target=\"_blank\" rel=\"noopener\">youtube<\/a>\u00a0&amp;\u00a0<a href=\"http:\/\/nightmachines.bandcamp.com\/\" target=\"_blank\" rel=\"noopener\">bandcamp<\/a><\/p>\n<p>\u2014 Emerging Industries Of Wuppertal \/ The Future Is Under Control<br \/>\n<em>cassette single, superpolar Ta\u00efps, 2021<br \/>\n<\/em>Recorded by a sales intern of fellow Cologne Tape label Strategic Tape Reserve, who occassionally produces music for a nearby industrial association to use during meetings and celebrations.<\/p>\n<p>\u2014 Ball Geographie \/ Durch die Gegend<br \/>\n<em>\"Live at Budokan\" cassette album, superpolar Ta\u00efps, 2020<br \/>\n\"<\/em>At once swaggeringly confident and nerdily proficient, Ball Geographie makes the perfect theme music for you, no matter what kind of situation you\u2019re in. Gotta look tough in front of your minions? Ball Geographie has you covered. Got an insane deadline on art project? Ball Geographie\u2019s on it. Gotta hit the mall, look fly, and rock out? Yessiree, let Ball Geographie do his thing.\u201d --- Ryan Masteller on\u00a0<a href=\"http:\/\/tabsout.com\/\" target=\"_blank\" rel=\"noopener\">TabsOut.com<\/a><\/p>\n<p>\u2014 Robin Barnick \/ Sinusoidal Frequency Modulations Part I (excerpt)<br \/>\n<em>Cassette EP, superpolar Ta\u00efps, 2021<br \/>\n<\/em>\"Robin Barnick (\u2026) versemmelte seinen (DX-7) Synthie zwar schon vor 20 Jahren, hatte davor aber die Gelegenheit, eine Platte aufzunehmen, oder sagen wir: ein letztes Mal an den Kn\u00f6pfen rumzudr\u00fccken und das Ger\u00e4usche auf Band zu bannen. Weil er vor dem Verkauf aus Verseh, \u00e4h\u2026 zur Sicherheit alle Presets l\u00f6schte, klingt das Teil weniger nach Pop-Geknatsche aus den wilden 80s, sondern wie zwei fremde Raumsonden, die sich in der Schwerelosigkeit ein Milky Way teilen \u2013 Solipsismus im Space Race, Rauschen aus dem Walkie-Talkie. Irgendwie gruselig, f\u00fcr Psychonaut*innen aber genau der richtige Stoff.\u201d \u2014 Christopher Benkeser auf <a href=\"http:\/\/groove.de\/\">groove.de<\/a>, M\u00e4rz 2021<\/p>\n<p>\u2014 Harald Sack Ziegler \/ Ahornschraube<br \/>\n<em>cassette single, superpolar Ta\u00efps, 2020<br \/>\n<\/em>Harald Sack Ziegler \u2013 or simply \u201cSack\u201d \u2013 is a lo-fi experimental trash pop\/punk legend. Ahornschraube has his main instrument - the French horn - at the centre, albeit heavily processed and\u00a0sometimes literally chopped up.<\/p>\n<p>\u2014 bleed Air -\/Immer nie<br \/>\n<em>eponymous cassette album, superpolar Ta\u00efps, 2020<br \/>\n<\/em>\"Pretend (\u2026)b Umberto and qualchan did something together for the latest Aaron Moorhead\/Justin Benson sci-fi thriller, and you might be onto something, but instead of dying all the time\u00a0(and over and over), there\u2019s a way out of the confines of this screenplay for your central character. Because the central character here in this techno-noir is you!\u201d \u2014 Ryan Masteller on\u00a0<a href=\"http:\/\/tabsout.com\/\">TabsOut.com<\/a><\/p>\n<p>\u2014 Peter C. Bruno \/ Fauna<br \/>\n<em>\"Be Linear\" cassette album, Strategic Tape Reserve, 2020<br \/>\n<\/em>\"This is decoy from the start. A relic of the golden age of espionage. I mean, this isn\u2019t even by \u201cPeter C. Bruno\u201d \u2013 if the Bandcamp page is to be believed, it\u2019s by the\u00a0Strategic Tape Reserve Staff, meaning Peter C. Bruno could be anybody.\u201d \u2014 Ryan Masteller, Cassette Gods<\/p>\n<p><a href=\"http:\/\/superpolar.org\/\" target=\"_blank\" rel=\"noopener\">superpolar.org<\/a><br \/>\n<a href=\"https:\/\/superpolar.bandcamp.com\/\" target=\"_blank\" rel=\"noopener\">bandcamp<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-704\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/bleed-Air-5-cover-FINAL_DIGITAL_RGB_250dpi_Motiv-Bleed-Air.jpeg\" alt=\"\" width=\"961\" height=\"960\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/bleed-Air-5-cover-FINAL_DIGITAL_RGB_250dpi_Motiv-Bleed-Air.jpeg 961w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/bleed-Air-5-cover-FINAL_DIGITAL_RGB_250dpi_Motiv-Bleed-Air-300x300.jpeg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/bleed-Air-5-cover-FINAL_DIGITAL_RGB_250dpi_Motiv-Bleed-Air-150x150.jpeg 150w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/bleed-Air-5-cover-FINAL_DIGITAL_RGB_250dpi_Motiv-Bleed-Air-768x767.jpeg 768w\" sizes=\"auto, (max-width: 961px) 100vw, 961px\" \/><\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">22:00<br><strong><strong>BANGALORE BANG<\/strong>!<br><\/strong>Peter Simon, Freya Hattenberger<br><em>Moderation:<\/em> Prasana Oommen <em>(en)<\/em><\/p>\n\n\n<div id=\"sp-ea-451\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse4510\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> specific acoustic socio-historic \/ soundscape Bangalore<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse4510\" data-parent=\"#sp-ea-451\"><div class=\"ea-body\"> <p>2021<br \/>\n<em>Duration:<\/em> 59:00 min<\/p>\n<p><em>en \/ <\/em>Sound and media artists, Peter Simon and Freya Hattenberger, have long been concerned with<br \/>\nthe interaction between the audible and the visible in the context of architecture and urbanism. \/ The composition \u2018Bangalore Bang!\u2019 was created from audio material collected on site during their residency at the Goethe Institute \/ Max Mueller Bhavan in Bangalore, India. Peter Simon and Freya Hattenberger were particularly interested in recording the acoustic \u2018fingerprint\u2018 of the country's rapidly growing megacity and IT metropolis.\u00a0 In their audio piece, they consider the interplay of urbanism and city planning and engage with the city's residents and their lives. Materiality, speed, urban structure and the fluid reality of Indian culture form an ornament of sound in their composition.<br \/>\nSpecial thanks to Goethe-Insitute \/ Max Mueller Bhavan and bangaloREsidency<\/p>\n<p>ger \/Als Klang- und Medienk\u00fcnstler besch\u00e4ftigen sich Peter Simon und Freya Hattenberger seit langem mit\u00a0\u00a0 der Interaktion zwischen dem H\u00f6r- und dem Sichtbaren im Kontext von Architektur und Urbanit\u00e4t. \/ Die Komposition \u2018Bangalore Bang!\u2019 entstand auf der Basis des Vor-Ort gesammelten Audiomaterials w\u00e4hrend ihres Aufenthaltes am Goethe Institut Bangalore \/ Max Mueller Bhavan\u00a0 (BangaloREsidency) in Indien.\u00a0 Peter Simon und Freya Hattenberger waren besonders daran interessiert, den akustischen Fingerabdruck der rasant wachsenden Megacity und IT-Metropole des Landes aufzuzeichnen.<br \/>\nIn ihrem H\u00f6rst\u00fcck ber\u00fccksichtigen sie das Zusammenspiel von Urbanit\u00e4t und St\u00e4dtebau und setzen sich mit den Anwohnern der Stadt und ihrem Leben auseinander. Materialit\u00e4t, Geschwindigkeit, urbane\u00a0 Struktur und die flie\u00dfende Realit\u00e4t der indischen Kultur bilden in ihrer Komposition ein Ornament aus Klang.<br \/>\nPeter Simon &amp; Freya Hattenberger Bangalore Projekt wurde erm\u00f6glichst durch ein Stipendium des Goethe-Instituts 2019, thematisch ging es um neue Komposition zu Architekturen des Brutalismus.<br \/>\nBesonderen Dank dem Goethe-Institut \/ Max Mueller Bhavan und bangaloREsidency<\/p>\n<p><a href=\"https:\/\/p3c7.de\" target=\"_blank\" rel=\"noopener\">p3c7.de<\/a><br \/>\n<a href=\"http:\/\/freyahattenberger.de\" target=\"_blank\" rel=\"noopener\">freyahattenberger.de<\/a><br \/>\n<a href=\"https:\/\/www.goethe.de\/ins\/in\/en\/sta\/ban\/ueb\/bar\/frp.html\" target=\"_blank\" rel=\"noopener\">www.goethe.de<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-457\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bangalore-Bang_ohne-Text_Foto-Peter-Simon-1024x1024.jpg\" alt=\"\" width=\"1024\" height=\"1024\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bangalore-Bang_ohne-Text_Foto-Peter-Simon-1024x1024.jpg 1024w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bangalore-Bang_ohne-Text_Foto-Peter-Simon-300x300.jpg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bangalore-Bang_ohne-Text_Foto-Peter-Simon-150x150.jpg 150w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bangalore-Bang_ohne-Text_Foto-Peter-Simon-768x768.jpg 768w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bangalore-Bang_ohne-Text_Foto-Peter-Simon-1536x1536.jpg 1536w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/Bangalore-Bang_ohne-Text_Foto-Peter-Simon-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>Photo by Peter Simon<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">23:00<br><strong><strong>DER KLEINE GR\u00dcNE W\u00dcRFEL<\/strong><br><\/strong>Frank-Christian Stoffel<br><em>Moderation:<\/em> the artists <em>(ger)<\/em><\/p>\n\n\n<div id=\"sp-ea-837\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse8370\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> netlabel \/  creative commons <\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse8370\" data-parent=\"#sp-ea-837\"><div class=\"ea-body\"> <p>Duration: 30:00 min<\/p>\n<p>en \/ Der kleine gr\u00fcne W\u00fcrfel is a netlabel based in Cologne, Germany. It\u2019s about electronic music \u2013 and beyond. In terms of musical styles, we started with electronic music, but nowadays stylistic variation dominates, ranging from experimental electronic music with DIY instruments to minimal techno to post industrial stoner metal or post- and kraut-rock. A personal relation to our bands and musicians is very important to us. A common mindset as well. That\u2019s also why we are not committed for growth. We don\u2019t want to be a stepping stone for young artists just passing through, but a platform for musicians who see Creative Commons not only as a publicity stunt. If that\u2019s your take as well, you may send us your demo. Der kleine gr\u00fcne W\u00fcrfel is operated by Frank-Christian Stoffel (who founded the label) with a little help from Marco Trovatello, Christian Eiken und Ren\u00e9 Kemp. All releases are licenced under Creative Commons, usually we use CC-BY-NC, CC-BY-NC-SA or CC BY-NC-ND 3.0, bot sometime also BY-SA or CC BY.<\/p>\n<p>ger\/ Der kleine gr\u00fcne W\u00fcrfel ist ein Netaudio-Label, das ausschliesslich unter Creative Commons Lizenz ver\u00f6ffentlicht, da wir lieber Teil der L\u00f6sung als des Problems sein wollen. Stilistisch haben wir mit elektronischer Musik angefangen, heutzutage dominiert stilistische Vielfalt die von experimenteller elektronischer Musik mit DIY-Instrumenten \u00fcber Minimal Techno zu Post Industrial Stoner Metal oder Post-, Kraut- und Progrock reicht. Der pers\u00f6nliche Kontakt zu den Bands\/Musikern ist uns sehr wichtig. Die Haltung ebenso. Dementsprechend sind wir nicht auf Wachstum ausgelegt. Wir wollen kein Sprungbrett f\u00fcr Nachwuchsk\u00fcnstler auf der Durchreise sein, sondern eine Plattform f\u00fcr Musiker, die Creative Commons nicht nur als Promogag begreifen. Der kleine gr\u00fcne W\u00fcrfel wird von Frank-Christian Stoffel, der das Label gegr\u00fcndet hat, betrieben. F\u00fcr Ihre Mitwirkung in der Vergangenheit \u2013 und gelegentlich noch heute \u2013 danken wir Marco Trovatello, Christian Eiken und Ren\u00e9 Kemp. Alle Ver\u00f6ffentlichungen stehen unter einer Creative Commons-Lizenz, wahlweise CC-BY-NC oder CC-BY-NC-ND.<\/p>\n<p><strong>Tacklist:<br \/>\n\u2014 <\/strong>Schmuseaufgeladen \/ For Example John<br \/>\n<strong>\u2014 <\/strong>Autoliebe \/ Die Formation Doppelherz 2000<br \/>\n<strong>\u2014 <\/strong>Zeitalter der Verkl\u00e4rung \/ Die Leere im Kern deiner Hoffnung<br \/>\n<strong>\u2014 <\/strong>Des Kaisers \/ Svann E. Langguth<br \/>\n<strong>\u2014 <\/strong>Strasse nachts \/ Svann E. Langguth<br \/>\n<strong>\u2014 <\/strong>Discodr\u00e4u \/ Erich Schall<\/p>\n<p><a href=\"https:\/\/www.derkleinegruenewuerfel.de\/category\/releases\/\" target=\"_blank\" rel=\"noopener\">www.derkleinegruenewuerfel.de<\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-838\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/wuerfel_logo_469x469.jpg\" alt=\"\" width=\"469\" height=\"469\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/wuerfel_logo_469x469.jpg 469w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/wuerfel_logo_469x469-300x300.jpg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/wuerfel_logo_469x469-150x150.jpg 150w\" sizes=\"auto, (max-width: 469px) 100vw, 469px\" \/><\/p>\n<p>Illustration by der kleine gr\u00fcne W\u00fcrfel<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p style=\"font-size:18px\">23:30<br><strong><strong>An insight into the imaginary of aamigafea<\/strong><br><\/strong>Aamigafea: Estefan\u00eda, Vanesa Cort\u00e9s<br><em>Moderation:<\/em> the artists <em>(en\/ger)<\/em><\/p>\n\n\n<div id=\"sp-ea-709\" class=\"sp-ea-one sp-easy-accordion\" data-ex-icon=\"fa-minus\" data-col-icon=\"fa-plus\"  data-ea-active=\"ea-click\"  data-ea-mode=\"vertical\" data-preloader=\"\"><div class=\"ea-card  sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse7090\" href=\"javascript:void(0)\"><i class=\"ea-expand-icon fa fa-plus\"><\/i> Electropop \/ Cumbia \/ Reggaeton \/ Ranchera <\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse7090\" data-parent=\"#sp-ea-709\"><div class=\"ea-body\"> <p><em>Duration:<\/em> 29:00 min<\/p>\n<p><em>en \/<\/em> aamigafea are daughters of their time. They are an electronic pop duo from Spain and proud residents of the city of Cologne. In this 30-minute musical performance they will introduce you to their imagining of topics that, while seemingly mundane, reveal universal ideas with which anyone can identify. In their songs they reflect on the vicissitudes of post-modern life from the perspective of the outsider. Musically, they draw from styles ranging from Cumbia (Colombian dance music),\u00a0 Reggaeton and Ranchera (Mexican Country music) to the most danceable pop.<\/p>\n<p><em>ger \/<\/em> aamigafea sind T\u00f6chter ihrer Zeit. Sie sind ein elektronisches Pop-Duo aus Spanien und stolze Bewohner der Stadt K\u00f6ln. In dieser 30-min\u00fctigen musikalischen Performance werden sie euch in ihre Vorstellungswelt von Themen einf\u00fchren, die, obwohl sie scheinbar allt\u00e4glich sind, das Universelle offenbaren, mit dem sich jeder identifizieren kann. In ihren Songs reflektieren sie die Wechself\u00e4lle des postmodernen Lebens aus der Perspektive des Au\u00dfenseiters. Musikalisch greifen sie auf Stile zur\u00fcck, die von Cumbia, Reggaeton und Ranchera bis hin zum tanzbaren Pop reichen.<\/p>\n<p><a href=\"https:\/\/www.youtube.com\/channel\/UC6qnLzmbqM_grHdkuPe1qXA\" target=\"_blank\" rel=\"noopener\">youtube<\/a><\/p>\n<p><a href=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/aamigafea_Foto-Andrea-Chaos.bmp\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-711\" src=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/aamigafea_Foto-Andrea-Chaos-1024x1024.jpg\" alt=\"\" width=\"1024\" height=\"1024\" srcset=\"https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/aamigafea_Foto-Andrea-Chaos-1024x1024.jpg 1024w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/aamigafea_Foto-Andrea-Chaos-300x300.jpg 300w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/aamigafea_Foto-Andrea-Chaos-150x150.jpg 150w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/aamigafea_Foto-Andrea-Chaos-768x768.jpg 768w, https:\/\/www.gerngesehen.de\/funkt\/eng\/wp-content\/uploads\/2021\/04\/aamigafea_Foto-Andrea-Chaos.bmp 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a>Photo by Andrea Chaos<\/p>\n <\/div><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A weekend of 53 hours non-stop excerpts what makes electronic + sound art from Cologne adorable \u2013 worth hearing \/ sound art radio \/ sunday18 april 2021 MESZ\/CEST\/CEDT BST + 0100 0 \u2014 3 hfunkt#11 00:00Pre-Noise of Cologne&nbsp; (1957-2007)Frank DommertModeration: the artists (ger) 02:00audioplayer::: BALLONI BROTHERS BALLOON WORK&nbsp;Al Hansen JOSEPH BEUYS STUKA DIVEBOMBER PIECEAl Hansen [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-606","page","type-page","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/www.gerngesehen.de\/funkt\/index.php?rest_route=\/wp\/v2\/pages\/606","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gerngesehen.de\/funkt\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gerngesehen.de\/funkt\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gerngesehen.de\/funkt\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gerngesehen.de\/funkt\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=606"}],"version-history":[{"count":61,"href":"https:\/\/www.gerngesehen.de\/funkt\/index.php?rest_route=\/wp\/v2\/pages\/606\/revisions"}],"predecessor-version":[{"id":1002,"href":"https:\/\/www.gerngesehen.de\/funkt\/index.php?rest_route=\/wp\/v2\/pages\/606\/revisions\/1002"}],"wp:attachment":[{"href":"https:\/\/www.gerngesehen.de\/funkt\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=606"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}