From midnight on 21 November 1999, the foyer of the Academy of Fine arts in Berlin was transformed into a sound laboratory. Within the framework of the media art festival intermedium 1, four teams of artists were invited to work on sound files before an audience under the title Audiolounge: Sound and Picture Electric Shocks Live: four hours of electronic music, something between a sound workshop and a club evening. An open stage situation emerged in the middle of the foyer, allowing the audience to witness the musicians' fiddly work close-up. Various VJs supported the sound projects. The visuals, mixed live, were projected on four large monitor screens. Those taking part were: Robert Lippok, visuals: Visomat inc.; Andreas Ammer and Console, visuals: Anton Kaun; Kalle Laar and Georg Zeitblom, visuals: pReview; Robert Merdzo and Bülent Kullukcu, visuals: Lillevän / Computer Centre.
The Berlin musician (to rococo rot) and graphic artist Robert Lippok opened the night with Callanetics and set the mood for the Audiolounge with gentle, digital sounds.
Radio play author Andreas Ammer and the Weimar electronic formation Console remixed a lecture by philosopher Martin Heidegger with "Heimat" and Technology The Heidegger Bootleg, thus following directly on conceptually from such productions as The Benjamin Loops (produced by: BR Radio Drama and Media Art 1992) and Loopspools (produced by: BR Radio Drama and Media Art 1998).
Electronic minimalism from a laptop was the contribution of Kalle Laar and Georg Zeitblom. hypersound concrète stems from musique concrète: "Music as electronic raw material: the starting point for manipulation and reconstruction. Only at the moment of performance is the material given a structure, put together to form what is heard. The electronics here are not a medium that transmits the sounds as transparently as possible, but one that itself produces sound. Hovering sounds, rhythm, fragments and cracks announce the approach of something that never comes. A frequency noise is evoked, out of which a musical articulation begins to emerge, only to break off again and return to the nosie (Laar / Zeitblom 1999)."
pReview (Tanja Diezmann, Tobias Gremmler) accompanied hypersound concrète with Clubwaves. Clubwaves are abstract computer animations which are mixed live synchronously to the music and in accordance with the peculiar nature of the relevant sound. The animations arise by direct transformation of sound features on to pictorial material: rhythms control picture components.
The nearest to a concert performance was that of the Munich musicians Robert Merdzo and Bülent Kullukcu with not a question of balance. Electronics: Bülent Kullukcu, guitar, bass and vocals: Robert Merdzo. engine noises, voices, samples from the mixing desk coupled with the good old sound the electric guitar. "We play with shattered and reconstituted sounds and create 'acoustic environments'. It is not a game of chance, but the composition of a structure consisting of splinters, serial sequences, duplications and repetitions" (Merdzo 1999).
The Audiolounge in the foyer of the Berlin Academy of Fine Arts – deliberately not located in a concert hall or club – was devoted practically to exploring electronic life worlds, the jungle of cables between the mixing desks on this particular evening providing an impressive illustration of the interface between man and machine, or to paraphrase zombie nation: I've got a loop and whimper, and that's all you need to make good electro.
Ammer & Console
Merdzo / Kullukcu
Laar / Zeitblom
Audiolounge at intermedium
Schäfer, Katarina Agathos
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