Tuesday, August 7, 2007


The program is happening at the deck of Virtual Haidplatz at Odyssey Islands in parallell with the happenings at RAUM in Berlin, Schwedenstrasse on the 10th august, starting at 5.30pm CET.

Press this slurl link to get to festival deck in Second Life: http://slurl.com/secondlife/Odyssey/24/188/556

(if you are new to Second Life download the free client of Second Life and create yourself an avatar to come visit the festival in the metaverse.)

Here is a map on how to get to RAUM in Berlin.

The full programs of Das Kleines Field Recordings Festival is here, and here is the programs for the10th august, in daytime at Staalplaat - and afternoon/evening/night at RAUM.


Jeff Gburek - Noganet Field Recordings
Hervé Birolini -
Venice daydream with the hidden sounds, Small Dance, Week End

7pm-8.30 pm:
Robert Gilks -
Field recordings:
Hi Ladies,
Kowloon Park Singing, Shrine Of The Book.
Soundwork and performance:
Audio Alchemy 1 - Aditta-pariyaya

Brett Ian Balogh - Locus Sonus Streaming Project into Second Life

Harold Shellinx - Live Performance with field recordings from Second Life

Transponderfish - Transversalia, interactive soundwork

(10.30pm-00.30am live program at RAUM with Andreas Bick, Yehlin Lee, Soichiro Mitsuya. Not presented in Second Life)

Adam Nash - A Rose Heard At Dusk, interactive soundwork

Jerome Joy - Sobralasolas! radiopera for live streamed and recorded sounds

Festival credits:
RL Festival guru: Rinus van Alebeek
SL festival section organizer: Miulew Takahe (aka Björn Eriksson)
Architect and builder: Chi5 Shenzhou
SL assistance: Evo Szuyuan
Teleporters, notecardgivers, signs: spinster Voom
Media masters: Paco Mariani / Pomodoro Bolzano
Information and island support: Sugar Seville / Odyssey Island


(times below are in CET timezone, please refer to above times to SLT timezone)




Bio: Jeff Gburek's work for reconfiguwhite guitars, field recordings, altewhite electronic sources & laptop correlates with the physical "sounding of the unsound body" as movement artist Ephia practices it. Actualizing unstable sonic environments. "Energariums". An (in)animate realm of subtly shifting textures, isochronic events and disruptions impel the clattering machinery of dream, of production and representation, unmasking a terrain of chaotically ordewhite microcosms, cuts concealing grain. Sound unfolds an unforeseeable future anatomy, personal and cosmic minutiae.

Notes on works: Noganet field recordings, 30'

These sounds were registered yesterday or the day before at Noganets, around some old farm house, from 1760, in the southwestern part of France between the Tarn and Garonne rivers, near the painted valleys of Puygaillard de Quercy, twenty kilometers north of Montauban. The current crop on the farm is to grow Dance & Theater studies and it is here that Jeff Gburek & Ephia as Djalma (pronounced "Szjaalma") Primordial Science are running a workshop entitled ' Le Corps: SENS DEDANS DEHORS', focused on sounding the unsound body. Symbiosis of body and field, symbiotic relationship with field recording, focusing how the liver and the heart and the bones are also ear. We have no data about the animal, plant or geological specimens decribed in this recording: we hold a proverbially smoking gun.

About the human ghosts of this region: the 12th century Duke of Quercy was a supporter of certain Troubador poets (Jaufrel Rudel names him in one of his lyrics) This region of France is known for the new tradition of poetry and its occasional links with various subversive religious mystic groups. One of these, known as Cathars—who only thought fucking was bad if you had children because of it---seem to have appeared in Limousin in something like 1010 and they were eventually captured, transported to Tolouse and executed as heretics by some Catholic authorities, which makes the hamlet of Noganet a possible place to get a hamburger in the middle of the journey before continuting on. We imagine the Cathars, in this retinue, would have abstained however.



HERVÉ BIROLINI, VENICE DAYDREAM WITH THE HIDDEN SOUND and other music compositions with field recordings


Bio: Hervé Birolini holds a postgraduate diploma in audiovisual techniques, and studied electro-acoustic composition at the Centre Européen de Recherche Musicale. In 1997, he joined the Groupe de Recherches Musicales in Paris as principal sound engineer for the concert series “Multiphonies” and “Présence électronique”. Since 2000, his work as a composer has focused on the spatial organisation of sound, whether in concert pieces, for film, theatre or radio, or in sound installations for public spaces. Hervé Birolini strips back sounds to their unexpected essence, deconstructing familiar textures and remolding the core that lies behind them into dazzling new forms. In this way, he seeks to make the origins of our everyday soundscapes audible, even tangible -decomposing the world in order to recompose it.
Hervé Birolini won the 6th la Muse en Circuit Radio Art Competition in 2005 and took the first prize for Sound Art at the International Radio Biennial in Mexico in 2004. He was awarded the INA/GRM Scholarship at Phonurgia Nova 2003.

Notes on works: Venice daydream with the hidden sounds, 15'
musical portrait of Venice made in 2005 with the use of field recordings from Venice.
Small Dance, 3'22"
a soundwork about dance and use recordings of real feet of dancer on the floor. This is an try to describe the energy of the dance in the format of a pop title. This pieces is issued from the "Chips an dust project" not released yet.
Week End
4'13" Is a tentative to describe a real week end at "Rockport" close to Boston with my aunt and friends in the format of a pop title. This is an extract of a radio work not yet broadcasted.





Bio: I've been making experimental music since I was quite young, starting off by making an electric stand-up electric bass by wrapping aluminum foil around a piece of string connected to a broom stick on top of a wooden box such that the foil vibrated against a wire connected to a battery and a speaker, hmm must have been about 9 or 10 when I did that. Moving on from there I bought an Amstrad 464 computer and hacked together an interface using light emitting diodes and light dependent resistors (placed in tubes) so that I could play a cheap toy synth I that I pulled apart via some software written in BASIC. I also made some distortion circuits, well they were breadboards with lots of wires sticking out all over the place. I recorded a few things with names like "New Glass Refining Process". Wish I could find these old tapes. I can't say I was ever really interested in the music they played on the radio when I was young, the first thing I ever found interesting enough to buy was Goo by Sonic Youth. It wasn't easy to come across interesting music growing up in the bush in the outer suburbs of Perth in Western Australia.

Later on I discovered that people were actually interested in what I was doing and meeting a like minded individual formed CSU, an Industrial band. We worked on some stuff and I booked out 1hr in a studio to do a live mix from my 4-track recorder onto DAT. You can listen to some of this old stuff here: http://www.empiricalrecords.com/CSU/ . A large part of the CSU sound was that most of the beats were layered over the top of samples of machine sounds I recorded in my fathers plastics factory, in a way these were my first field recordings.
We started playing gigs in pubs and clubs around Perth, not many people seemed to know what we were on about, but we had a good time and played support for SNOG. After a while I found it quite boring turning up and playing our songs over and over and the opportunity arose to do some more experimental stuff at Interzone Nightclub in Perth. Just searching in Google I found there is a few pics of us doing this here: http://iz.org/club/performa.htm :-D
In the 'wasteland' out the back of the club we set up many speakers, miked up metals sculptures, had numerous synths all hooked up to mixers, some drum machines, all second-hand stuff, some hardly functioning, lots of tape decks playing loops, we sat amongst the audience and encouraged them to muck around with things while controlling to overall mix. Some of the highlights of these shows we put out on a tape called CSU LIVE 95 http://www.empiricalrecords.com/mp3s.html
In amongst the noise you can hear some field recordings I made on a small tape recorder, the zoo, the beach, insects at night, the washing machine etc.
When Interzone closed down it was a bit of a bumber, there was nowhere to play anymore, but the techno and rave scene were taking off. CSU morphed into a 2 man techno act, we played support for many artists when they came to Perth, like Carl Cox, Josh Wink, Plastic Man, CJ Bolland oh yeah and there was that Sasha and Digweed thing and some other stuff. Since we were the only people really doing this in Perth we always seemed to end up the support act. Can't say we ever got our shit together to put a CD out, these were rather hazy times...

One day while driving my van home from a gig I became immersed in the sound of the engine, the wind in my ear ,the changing of gears and the though occurred to me. What's wrong the the sounds that are already there?, why put something on top?, why make music? I'd thought about this sort of thing before but this time something really hit me and I seemed to loose my motivation. I stopped playing live and haven't done so since.

I didn't do anything at all really musically for a long time, I got more into software development and moved to London. After a few years I got my mum to send over some stuff I had back in Perth, amongst it was my old DAT tapes. I bought a Tascam DA-P1 portable DAT recorder so I could listen to them again. Since I had this very expensive DAT machine I thought I should do something useful with it so I bought a Rhode NT4 stereo microphone and began doing some field recordings. It was also a good excuse to get away from my computer and go outside :-)

Notes on works: The first piece I wish to present is one of these first recordings. Made at Olympia Tube Station.
1) Hi Ladies (4:08)
Later that year I went on holiday and passing through Hong Kong made this great recording in Kowloon Park near the aviary of some women practicing singing.
2) Kowloon Park Singing (14:35)
On the way back to London I spent some time in Israel and visited the Shrine of the Book where the dead sea scrolls are kept. It has this great ambiance.
3) Shrine Of The Book (15:29)

Finally I would like to present a new work which is a mix of several field recordings I have done in the last few years, as well as me chanting the Fire Sermon in Pali.. in Wimbledon Common.. at 6am :-) This represents a new engagement in my works rather than just remaining a passive observer. Though these days I'm not exactly sure who is observing what.

4) Audio Alchemy 1 - Aditta-pariyaya (25 min)

soundwork with live performance from Fau Ferdinand and Zodial Semple, 25 min



BRETT IAN BALOGH, LOCUS SONUS streamed field audio into Second Life


Bio: Brett Ian Balogh is an artist currently working at the intersection of object, sound and space. His work involves the creation of instruments and systems from both new and obsolete technologies, aimed at elucidating hidden relationships between ourselves and the world we inhabit. He considers his work to be tools of exploration and experimentation, being works to think 'with' rather than to think 'of'. Brett's primary medium is technology. Being a human creation, technology embodies and is bounded by ourselves. By applying technology in an artistic context, he seeks for elements of ourselves to be reflected back.

Notes on work: Locus Sonus is a research group specialized in audio art, as such it is officially recognized and receives funding from the French Ministry for culture. It is organized as a post graduate course by the Art Schools of Aix-en-Provence (Ecole Superieure d'Art d'Aix-en- Provence) and Nice (Ecole Nationale Superieure d'Art Villa Arson Nice), France.
Two main thematics define our research - audio in it's relation to space and networked audio systems. Over the last 18 months the Locus Sonus Lab has been focusing on a process which revolves around a network of audio streams. The audio source for each stream is simply an open microphone which continually uploads chosen soundscapes or sound environments, as playable material. We have now established a worldwide community of streamers each person being responsible for the installation and maintenance of his mike. Several different art forms have developed from this project - A dynamic world map which allows access to the streams online an installation where visitors are invited to traverse the different audio streams by sliding a ball along a 150-ft wire, various performances and concerts and most recently we created an interface allowing access to the streams in second life. Unadulterated physical world sound pierces the virtual world creating an almost John Cageian perception where the act of listening is modified by the cumulated real and virtual distance. Increasingly interested by these notions of space and distance we now wish to pursue this research by increasing the porosity between the physical and virtual world.



HAROLD SCHELLINX, live performance with field recordings from Second Life, 15'


Bio: Harold Schellinx (aka HarS), born in Maastricht, the Netherlands. Avant-rock musician based in Amsterdam (1975-1985). Editor and London correspondent of Dutch 'modern music magazine' Vinyl (1981-1983). He studied formal music and computer-aided composition with Gottfried Michael Koenig at the Utrecht Institute of Sonology (1983-85). Then mathematics and its foundations with Anne Troelstra at the University of Amsterdam (Ph.D. 1994). HarS researched in mathematical logic and the foundations of computer science (1990-1999).

Notes on the performance:





Bio: Transponderfish is a duo of the audio-artist Andreas Mueller and the avatar Bingo Onomatopoeia, pushing forward the frontiers between old world and metaversum. Fieldrecordings from different places all over the world are taken to the metaversum, packed into instruments that would be inconceivable in real world, making movement of the soundsources possible as well as walking through them. The sounds taken from the world are circling around the listener or - depending on the mood of the transatlantic fibre-connection - they are forming a transcontinental echo. By transporting them to the metaverse they are not simply transfered to a new medium, they are given additional connotations. The unique possibilities of the metaverse boost these processes of tranformation as virtual sound-installations do not have to cater from the metaphors of traditional resonators, they rather are accessible soundscapes that transport a new kind of synaesthesia: clouds, streams and waves are not mere illustrations but the medium of music themselves.

Notes on work: Transversalia, mixed reality performance and soundwork for Second Life.



ADAM NASH, A ROSE HEARD AT DUSK, interactive soundwork with field recordings


Bio: Adam Nash is a new media artist, composer, programmer, performer and writer. He works primarily in networked real-time 3D spaces, exploring them as live audiovisual performance spaces. His work has been presented in galleries, festivals and online in Australia, Europe, Asia and The Americas, including peak festivals SIGGRAPH, ISEA, and the Venice Biennale. He also works as composer and sound artist with Company In Space (AU) and Igloo (UK), exploring the integration of motion capture into realtime 3D audiovisual spaces.Adam is currently undertaking a Master of Arts by Research at the Centre for Animation and Interactive Media at RMIT University, Melbourne, researching multi-user 3D cyberspace as a live performance medium.
Adam is also lecturer in Computer Games and Digital Art in the School of Ceative Media at RMIT University. He has been a writer and reviewer for Digital Media World magazine, and editor of the Computers and Internet department at LookSmart. He was also a Project Officer at com.IT, a community charity he helped to establish that recycles computers and redistributes them for free to NFPs domestically and overseas.

Notes on work: A Rose Heard at Dusk, interactive soundwork, 20'

Using many of the possibilities unique to the Second Life medium, A Rose Heard At Dusk is a participatory artwork that turns visitors into performers. It was designed specifically for the cavern space under the Opera House on Big Pond Island. The work is designed to be "played" by visitors avatars. Walking, flying and jumping through the space, avatars create a unique audiovisual composition, different every time. Colours and sounds combine to create a spatially immersive musical and visual experience. The work can be played by single avatars, but it really comes alive when friends play it together. It blends the different meanings of "play". By playing in the space, visitors are actually playing the space like an audiovisual instrument, creating endless variations of sound and vision.

It looks different at different times of day, the light reacting differently with all of the translucent colours. It sounds different from different positions - all sounds are attached to shapes in the space, some sounds stay still while others move, some sounds are triggered by avatar proximity, while some are constantly sounding. Combined with the movements of visitors avatars, this creates an endlessly changing immersive audiovisual experience.



JÉRÔME JOY, SOBRALASOLAS! radiopera for live streamed and recorded sounds,


Bio: Jérôme Joy is a composer and artist who has been teaching since 1992 at the National School of Arts, Villa Arson Nice and since 2004 as research director with Peter Sinclair of the research group Locus Sonus - Audio in Art. Having delivered multiple performances of both instrumental and electro-acoustic music since the early 1980s, he has devised numerous international, networked projects. His interests encompass the vast realm of sound composition and improvisation, alighting upon and inspired by electronic production, programming technologies, networked systems, sound shared databases, and the interplay and local gaps of narration between the organic (human, fallible, playable, awareness) and artificial (modular, detached, limitless). In recent years he has been invited in many international festivals and events (in SFMOMA San Francisco, Brussels2000, Open Radio CCCB Barcelona, Walker Art Center, Kunst in der Stadt Bregenz Austria, Avatar Quebec, ISEA Nagoya, SilenceRadio, etc.) and various granted residency status in Spain, France, USA, Egypt and Japan). He’s continuously working on various projects : Sobralasolas !, nocinema, picNIC, Collective JukeBox, PacJap, pizMO and next live improvised concerts with guests (DinahBird, Kaffe Matthews, Jérôme Poret, Yuko Nexus6, and so on). Some of his next releases during the Fall: nocinema.org at Urban Screens in Manchester (UK) and at Oboro Center in Montreal; new radio works on silenceradio.org; Sobralasolas! at Festival Radiophonic in Brussels; Locus Sonus Roadshow at GMEM in Marseilles.

Involved in critical and borderline questions about systems and processes of composition and improvisation (musical writing, comprovisation, programming codes, recording, streaming, etc.) and listening situations, his work extends the conditions and the operabilities of a today organology. The systems he's using and he conceives are varying between "playable" forms and automatic ones, using extended time scales and playing with memory (persistence and resistance) and the permeability of sound materials between silence, materiality, contextual references and flux (permanently updated). Using last technologies - digital, electronics, programmings and telematics - and in the same time its relationships with historical and next to last ones, and crossing over musical and sound genres - electroacoustic, radiophony, performance, concert, and so on -, he's experimenting these systems to reveal (musical) practices and possible impacts, like places of local inventions, into our daily life and social contexts, revealing the surrounding contexts and questions, more than the own status of the artwork. The essential stakes present in his works are the situations and the act of listening.

His discography is available at www.metamkine.com, tiramizu.net.

Bibliography: "Hypermusique, programmation, composition" in Imagina 98 Proceedings, "Les dispositifs coopératifs (co-op systems)" in L'art contemporain et son exposition Ed. Collège International de Philosophie / L'Harmattan 2001, "De la monstration aux téléchargements: pollinisations et émancipations. Approches des collectifs artistiques en réseau" in Culture&Recherche review n°102 2004, "Dispositifs audio en réseau - Vernetzte Audiosysteme" in Neue Zeitschrift für Neue Musik review Berlin Ed Wergo/Schott 2004, "LOGS, micro-fondements d'émancipation sociale et artistique" Ed. è®e Paris 2005, "Experimental Music in 2005" by Warren Burt in World Literature Today Univ. of Oklahoma 2005, "Locus Sonus" in Autumn Leaves, Sound and the Environment in Artistic Practice, by Angus Carlyle, London 2007.

Notes on the work: SOBRALASOLAS! radiopera for live streamed and recorded sounds,
proposed by Jerome Joy. ACT 1 (80mn - 2007)
with Dinahbird (Bird), Caroline Bouissou (Caroline), Björn Eriksson (Miulew), Kaffe Matthews (Mademoiselle Jaune) and Gregory Whitehead (Têteblanche).
Premiered at SonoR Festival, Lieu Unique, Nantes, Thursday March 29, 2007

Sobralasolas! does not have preestablished scenario nor story to be told. It is not a documentary or a radioshow/testimony. It is a place for glossolalies and echolalias, recordings and collectings, taken off slightly of its referents and contexts in reality and yet engaged in the experiments we have by listening to. Built on a system combining studio (montages/mixings), performance (improvised parts) and networks (the streaming techniques used for the remote sound recordings), it condenses and slows down situations of listening.

Sobralasolas! , - over the waves, over the streams, according to James Joyce and to the title of a Mexican waltz of the XIX° century -, is following Jerome Joy's works launched one year ago by the creation of radiophonic works (for Silenceradio.org and JetFM in Belgium and in France) and former by the realization of the Internet project nocinema.org and various musical works he's composed these last twenty years. By questionning sound practices from radiophony, performance, concert and Internet, Sobralasolas! continues these developments with what can appear as a radiopera, multilayered tracks with recorded voices and collected sounds, combining on-line and acousmatic systems, or a docudrama and process/concert to cause sounds and images, intermigling electronic sounds, phonographies and voices.

Thought like a series or a collection of episodes, between musical concert, radiophonic work and networked system, and between in-progress on-line podcast and fictive and "told" recordings, this radiopera is combining improvised, composed, streamed, mixed sounds in an open and continuous structure and in a persistent and split up environment one follows the diffuse narration. Each voice-protagonist took part in the production in a singular way, by opening an open microphone (Internet streaming) in his daily life in order to collect it, to record it or to interpret it, or by rough recordings of sounds around them or of their voice describing of probable stories of their own environment. Thus Gregory Whitehead in Seattle soliloquizes remotely on the most used terms in the mass-media and on the various anagrams of the word Sobralasolas, Caroline deploys her dreams hallucinating our daily impressions, Dinahbird tells her yellow sticky thoughts resulting from furtive observations, Kaffe Matthews streams from her home in London all the variations caused by the yellow color filtering her environment, Björn Eriksson places his on-line open microphones in his house in Solleftea in Sweden. These protagonists are discovered time after time by the listeners in this improbable glossolalie without scenario, each one of us working out his or her own story along the listening. Built on the act of listening, simultaneously camera obscura and membrana sensibilis, this project insists on the imaginary potentials - fictional and fantomatic (ghostly) ones - of the recordings and particularly on the question of the remote recording and collecting via transmitted flux by Internet by the open microphones (webmikes, like webcams in the following of the Locustream project led by Locus Sonus). Sobralasolas! undertakes deconstructions present in our perceptions by reconstituting forgotten circuits of relations with our environments. Distances and movements are reactivated and perceived again. It is an update of unstable and embodied relations, of the experiments of our perceptions, of located points of view, against the fixed and disengaged forms of our social life. At the same time composed and improvised work, personal and collective, Sobralasolas! is injecting again the disposition of the world into the formlessness of the language and the recordings, passing from a modality of the remote vision to a touch mode by listening. This first version of Sobralasolas! was first played in Nantes in a non-spectacular form (acousmatic, spatialized on loudspeakers) and announces the next episodes which will be able to combine scenic dimensions with live performances and live streams.


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