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Kompositionsstudio
Das Kompositionsstudio des ICST bietet drei selbständige Abhörsysteme: eine 3D-Anordnung von 17 Lautsprechern (5+8+4) für Ambisonics und Multikanal, ein 5.1 System sowie Stereo-Monitoring. Ein Mac Pro steht mit vielfältiger Software wie Sequenzern, HD-Recording- und Klangbearbeitungstools sowie objektorientierten Programmen wie MaxMSP/Jitter oder PD bereit. Das Studio ist speziell für die Erstellung von Ambisonic-/Surround-Musik eingerichtet. Das Kompositionsstudio des ICST verbindet neueste Technologien mit musikalischer Praxis und konzentriert sich auf die praktische Umsetzung von Aufgabenstellungen aus der Klangforschung, der Computermusik und der Medienkunst. Das Studio will die Entstehung neuer Werke der Elektronischen Musik, der Klang- und Medienkunst fördern.
(c) Judith Winterhager
Residenzen
Das Residency-Programm des ICST Artists in Residence at ICST bietet KünstlerInnen die Möglichkeit, im Rahmen eines Aufenthalts an der ZHdK ein eigenes künstlerisches Projektvorhaben zu realisieren und dabei von der wissenschaftlichen und künstlerischen Forschung am ICST zu profitieren. Das Programm umfasst Residenzen in unterschiedlichen Schwerpunktbereichen des ICST – aktuell sind dies: Spatial Sound Synthesis, Tempo Polyphony, Moving Loudspeakers und Immersive Arts. Der Call für das Programm wird jeweils im Juni publiziert.
Resident*innen
2022
Cathy Lane
19.7. – 8.8.2021 | 17. – 20.3.2022
Cathy Lane is a composer, sound artist and academic. Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. Aspects of her creative practice have developed out of these interests and include composition and installation-based work. She also writes and lectures on these and related subjects as well as collaborating with choreographers, film makers, visual artists and other musicians.
Books include »Playing with Words: The Spoken Word in Artistic Practice« (RGAP, 2008) and, with Angus Carlyle, »In the Field« (Uniformbooks, 2013), a collection of interviews with eighteen contemporary sound artists who use field recording in their work and »On Listening« (2013) a collection of commissioned essays about some of the ways in which listening is used in disciplines including anthropology, community activism, bioacoustics, conflict mediation and religious studies, music, ethnomusicology and field recording.
Her CD »The Hebrides Suite« was released by Gruenrekorder in 2013.
Cathy is Professor of Sound Arts and University of the Arts London and co-director of CRiSAP (Creative Research in Sound Arts Practice), University of the Arts London.
cathylane.co.uk
Cathy Lane
Olga Koksharova
29.6. – 18.7.2021 | 11. – 13.3.2022
Born in Siberia and currently based in Geneva, Olga Koksharova is an artist, composer, musician and landscape architect. She is interested in everything that is audible, regardless of the medium. She works with analog modular synthesizers, prepared instruments and field recordings, favoring careful recording, but also experimenting in circumstances where recording equipment is physically put to the test. These sources are then used for compositions, soundtracks, multichannel electroacoustic improvisations or sound installations in public spaces. Her work has been presented throughout Europe, Argentina, Australia and the USA. It has been awarded with Neumann prize (2009), GNOM - Das Ohr Der Zeit prize (2010), Sonohr Prix d’Ohr - für ein besonders herausragendes Hörerlebnis (2017), Liechti prize (2017). She is founder member of zov, a project in which, in collaboration with Gianluca Ruggeri, they explore since 2011 sounds from natural and artificial acoustic environments, audible and inaudible vibrational phenomena, field and laboratory measurements and other signals captured via accelerometers and charge conditioning amplifiers, hydrophones and electromagnetic detectors. Their live performances involve multichannel spatialization of sound using the ICST Ambisonics tools for Max in a way to put forward the specificities of the acoustics of uncommon concert places via various loudspeaker set-ups. Through non-narrative sound constructions zov investigates the histories of the site bringing back sound environments which has disappeared.
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