Future Soundscapes Festival: Installations
Video and Sound Installations by Bettina Allamoda, Mario Asef und Golo Föllmer, Karl Heinz Jeron und Bjørn Melhus
Video and Sound Installations
by Mario Asef und Golo Föllmer, Bettina Allamoda, Bjørn Melhus, Karl Heinz Jeron
Dystopian Soundtracks from Cinematic History
by Mario Asef and Golo Föllmer
The Sound Bar invites you to explore the world of dystopian cinematic sound. Visitors can browse through a handpicked selection of key dystopian scenes from classic Hollywood and Art House motion pictures.
What does dystopia sound like? Does it sound shrill, hushed, distorted or over-theatrical… or is it silent? Can music and film sound design reveal something about the essence of the dystopian? Does an understanding of the acoustic construction of the dystopian help to get a better grasp of dystopia itself? For example, in answering what type of threat it represents. Such as, is it violent or subtle? Evil or intelligent? Tempting or unsettling? And which musical, tonal and technical means are used to create the sounds?
Film scenes will show only as a black image to be able to focus more completely on the sound. Only a brief image description divulges time, location and context.
Compilation and commentary by Mario Asef and Golo Föllmer. Scientific consultation: Selçuk Artut.
Cryptic Life Signs from the Multiverse
by Karl Heinz Jeron
The concrete sculptures are singing a basically infinite number of songs generated by artificial intelligence (AI).
These sculptures are not fixed things. They exist in a state of potential. It is about relations of species without separation of the biological and the social in the context of “natureculture” thinking (Donna Haraway). What changes, and above all how does something new emerge, not necessarily the better.
The songs are generated with the help of an AI algorithm. This means that text and melody are generated automatically and the singing voice synthetically.
Jeron trains his AI software with pieces of music from the Internet that have been marked with the keywords “love, hate, life, death, ecstasy, drunkenness, euphoria”.
Jeron's music-making machines don’t really work any differently than any composer. First they learn about existing styles and then create similar technical reproductions. The AI recognizes patterns in the structure of a piece – for example the chords used, the notes of a melody, repetitions or variations. Based on these patterns, the AI recreates the “logic” of a musical genre and finally creates an infinite pool of new compositions, which are based on originals or consciously differ from them. The AI is able to compose songs in any genre or style. The result depends only on the data material that has been supplied.
Museum in a Box
by Bettina Allamoda
Bettina Allamoda (*1964) is a Chicago born artist, living in Berlin since 1982. In her work, she seeks to expand and explore the politics of art, architecture, fashion, design and technology, yet considering the analysis of material and bodies in time and space. Investigating history, archeology and documentation, Allamoda deals with how physical experience is warped through media experience.
Doors of Reception
by Bjørn Melhus
What does it sound like to move from one room to the other in the future? The answer has been imagined by many science fiction films - few other objects in the genre have characterised the imaginary sound of the future as strongly as automatic doors. The video “Doors of Reception” is a collage of door sounds from various science fiction films that stimulate the emergence of an abstract soundscape for moving colored surfaces.
presented by AskHelmut, ByteFM, der Freitag, Digital in Berlin, ExBerliner, FluxFM, Weddingweiser