Seeking for New Noise

This workshop offers an opportunlty for artistic practices by emphasising the sound. Noise, a new material for music creation at the break of the 20th century, isn't new anymore and gets used more often. We will seek and explore disruptors of musical and artistic norms, such as noise was.

This workshop offers an opportunity for artistic practices by emphasizing the sound.

Noise and its definition have undergone great change over the last 250 years, especially since the Industrial Revolution began. What retrospectively started as intensifying levels of noise and sound pollution caused by the development of industrial production, machinery, and transportation slowly gained new perspectives and started to bee seen as a new material for music production at the break of the 20th century. The earliest important example was the revolutionary futuristic manifesto “The Art of Noise” by Luigi Russolo (1913). This increasing embrace and incorporation of the new sound impulsing into the arts can be observed throughout times in the works of Arseny Avraamov (1886-1944), John Cage (1912-1992), Iannis Xenakis (1922-2001), and many more. Originally considered as unwanted, disturbing signals or sounds, the noise has become an accepted and much-used music and art material. A lot of music genres are dedicated to the noise and equivalent such as Industrial Music, Noise Music, Glitch and etc, to cover its harsh and aggressive side. On the contrary, noise is nowadays used for relaxation in order to focus on work or have a good sleep.

In this workshop, we'll consider the whole spectrum of the noise, seek and explore disruptors of musical and artistic norms, such as noise was.
 
SCHEDULE
 
Day 1
Introduction to the workshop theme
Insight into different approaches by various artists
Historical perspectives that have changed art practice
 
Day 2
Presentation of assignments (10 min. each)
 
Day 3
Idea presentation
Working on individual project + equipment list
 
Day 4
Working on individual projects
Individual consultations
 
Day 5
Final presentation
 
 
REQUIREMENTS
 
Various artistic approaches are welcome, nonetheless, you are expected to have basic knowledge and skills with the chosen equipment and material to realize your project. E.g., if you want to work with field recording, you need to have basic knowledge of the equipment and be able to carry out the recording, edit, and arrange the sound on your own. Some equipment can be provided by the university, however, bringing your own material/equipment will definitely benefit you.
 
On the second day, each participant is expected to give a 10 min presentation about a piece (art, text, performance, music, architecture, game-changing moments in the arts, etc.) or a person (artist, theorist, philosopher, politician, architect, etc.) around and about the workshop theme. When talking about a person or a piece, please provide some background information (date/place of birth, the piece was shown, etc.).
 
For any questions about the requirements and assignment, please get in touch with the instructor at d.ishida(a)udk-berlin.de.

Daisuke Ishida (1980, Tokyo) is a Berlin based artist, working with sound and contemporary media, studied Political Science and Economics and Sound Studies in Japan and Germany respectively. He is interested in the consequence of artistic praxis and theory in sound, space and perception. His works explore the boundaries of ephemeral and time based media to open up new perspectives on spatialities, while his understanding of space extends from the physical, to the social and political realm. He strives to induce a multitude of complex individual experiences of space, that cause the spectator to reassess his/her understanding, position and relation to their physical and conceptual environment.
Since 2012, he is teaching at The Berlin University of the Arts, UNI.K Studio für Klangkunst und Klangforschung (Studio for Sound Art and Sound Research) and the master’s program Sound Studies and Sonic Arts. He was a recipient of the Work stipends New Music and Sound Art by the Berlin Senate in 2017. In 2002 he co-founded The SINE WAVE ORCHESTRA which has received Honorary Mention of the Prix Ars Electronica 2004 and 2019, Stiftung Niedersachsen work stipends 2009 at Edith-Russ-Haus für Medienkunst and Grant from the Saxon State Minister for Higher Education, Research and the Arts at Cynetart Awards 2018.
Daisuke Ishida has presented his artistic activities in museums, festivals and galleries internationally such as Akademie der Künste (DE), Ars Electronica (AT), Arsenals of the Latvian National Museum of Art (LT), deaf - Dutch Electronic Art Festival (NL), Edith-Russ-Haus für Medienkunst (DE), ICC - InterCommunication Center (JP), International Triennale of Contemporary Art Yokohama (JP), ISEA - Inter-Society for the Electronic Arts (USA), MACO - Contemporary Art Museum of Oaxaca (MX), MART - Museum of Art, Rovereto and Trento (IT), MOT - Museum of Contemporary Art Tokyo (JP), Singuhr Hoergalerie (DE), Steim (NL), Transmediale (DE), WSK Festival (PH) and YCAM - Yamaguchi Center for Arts and Media (JP).


Run period:
27.07.2020 – 31.07.2020
Course time:
10.00 am – 5.00 pm
Application Deadline:
28.06.2020

Course fee:
EUR 465

Min. number of participants:
12
Max. number of participants:
15

Available