This workshop invites you to explore noise as an artistic disruptor of the musical ordinary and use its usually perceived negative traits in aesthetic and imaginative ways. It will give you an insight into the history of noise and its whole spectrum, as well as introduce you to the different ways of its implementation.
Due to the COVID-19 pandemic, this course will be facilitated online using a mixture of daily live-sessions and guided tasks to be completed in preparation for an online-performance in the end.
Over the last 250 years, noise and its definition have undergone a great change. What started as an intensifying level of noise and sound pollution caused by the development of industrial production, machinery, and transportation, slowly gained new perspectives and started to be 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 noise and its equivalents such as Industrial Music, Noise Music, and Glitch, to cover its harsh and aggressive side. On the other hand, noise is nowadays used for relaxation to focus on work or fall asleep.
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.
Introduction to the workshop theme
Insight into different approaches by various artists
Historical perspectives that have changed art practice
Presentation of assignments (10 min. each)
Working on individual project + equipment list
Working on individual projects
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).