NK & Hyperlinear Present:
Museum Kesselhaus Herzberge
Herzbergstraße 79 (Haus 29)
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Beginning in autumn 2016, this is a new weekly meeting for composers in Berlin to present their current works-in-progress to a critical audience. Different weeks will propose different parameters, for example: electroacoustic works, instrumental works, computer music works, and more. This presentation format enables critical feedback and group discussion with a critical stance towards composition and music making technology.
Exact dates & schedule coming soon.
The School of Machines, Making & Make-Believe is excited to announce ‘Interventions: Art, Technology & Social Practice’, an exploration into the intersection of technology and art, activism, and community-building. Expert instructors will lead workshops over a ten week period in Berlin, Germany @ N.K. Projekt.
How can you socially engage with the world in playful and disruptive ways? This course will focus on conceptualizing and creating socially-engaged artworks and stories in both old-fashioned ways and through using code, electronics, and more. From the whimsical, to the thoughtful, to the subversive, it is set up to take you on an introspective journey that inevitably leads to discovering the world around you.
You will learn the basics for building your own modules from the most simple parts.
At the end you will have a module to begin a system or to add to your existing rack.
Participants can decide between any of the modules that are available.
The first ever international music-robot convention!
Gamut Inc & N.K. Projekt present a three-day festival on the topic of music- robots and machine-music. In concerts, lectures and different discourse formats, we will present many international ensembles from Europe and beyond that build their own autonomously playing music-machines. We will interpret classics of the 20th century on music-machines and also invite composers to write new music for these wild machine-inventions.
The festival will take place in Berlin in September of 2016 with three days of concerts, installations, talks and presentations. The festival includes, among others:
Robot Orchestra of Logos Foundation Ghent
Roland Olbeter Machines
Hacklander \ Hatam
Jens Maria Weber
Hyperlinear and N.K. present
Opening night: Wednesday Sept. 7th from 6pm
Exhibition: Thursday Sept. 8th and Friday Sept. 9th from 12am to 6pm
at Museum Kesselhaus KEH
Andrea Borghis recent work is focused on the idea of “osmosis”, with particular attention to an osmotic relationship between sound and matter.
Discomateria are objects in the shape and size of an LP manufactured in various materials such as glass, resin, metal and recently marble amongst other materials.
In practice, discomateria are used by Andrea Borghi to produce sound directly from the material by being played on modified and customized turntables and processed with substances that transform the structure of the materials surface such as acid.
These discs are treated and in real-time processed to generate sound and also becomes autonomous art objects.
The idea of osmotic sound derives from the motivation to overcome a “superficial” effect of sound and to make it as tangible as possible for the listener, through a psychoacoustic effect in a certain way “epidermal”. The sound becomes tactile and the material becomes auditory.
Reading Group 2016 | Wednesdays March, April & May, 2016. 18:00-21:00
This is a weekly meeting for those interested in understanding how we are conditioned in different ways. If we consider the possibility of actual transformation, first we need to understand ourselves in relation to this world.
We will explore our own determination from different perspectives: linguistically, socially, sexually, culturally, racially, economically, historically, biologically, and more. We will also take into account Berlin and the changes that is going through.
Launched by a group of musicians and artists, this experimental series starts with a critical standpoint towards current culture and music in particular, including the avant-garde, popular and obscure: does music contain transformative qualities? Or is it just a soundtrack for our fucked up times? Are extreme actions, improvisational approaches and noise enough to dismantle our conditioned selves? Or do we need to radically reconsider the critical potential of these practices? Can we still say no to the unfairness of this world through cultural practices or do we need something else altogether?